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The University of the Arts 

College of Art and Design 



SILVER STAR ALUMNI 



ARD 



EXHIBITION 



Digitized by the Internet Archive 

in 2010 with funding from 

Lyrasis IVIembers and Sloan Foundation 



http://www.archive.org/details/silverstaralumniOOuniv 



The University of the Arts is the nation's first and only university dedicated to 
the visual, performing and communication arts. The University evolved from 
two century-old institutions: the Philadelphia College of Art (PCA) and 
Philadelphia College of Performing Arts (PCPA). 

PCA was established in 1876 as part of the Philadelphia Museum of Art. 
Together, they were originally known as the Pennsylvania Museum and School 
of Industrial Art, created in response to the growing interest in art and art 
education stirred by the country's Centennial Exposition. In 1948, PCA 
changed its name to the Philadelphia Museum School of Art, reflecting 
expanded programs that trained artists in a variety of areas. 

The school received accreditation as a college in 1959, and in 1964 it separated 
from the Museum to become the Philadelphia College of Art. The perform- 
ing arts programs of the University of the Arts date back to 1868, when three 
graduates of Germany's Leipzig Conservatory opened the Philadelphia Musical 
Academy, one of the first European-style conservatories of music in America. 
The Academy became an independent college of music in 1950, one of only 
eight institutions in the nation to offer four-year Bachelor of Music degrees. 
The school changed its name to the Philadelphia College of Performing Arts 
(PCPA) in 1976. One year later, the Philadelphia Dance Academy became part 
of PCPA and, in 1983, the School of Theater was created, achieving the 
college's ideal combination of dance, music and theater arts. 

In 1985, PCA and PCPA merged to become the Philadelphia Colleges of 
the Arts, a collaboration bringing the institution one step closer to becoming 
the nation's first comprehensive arts university. After being granted universit)' 
status in 1987, the University of the Arts became the largest institution of its 
kind in the nation, offering programs in design, fine arts, media arts, crafts, 
music, dance and theater. In 1996 the University established the College of 
Media and Communication, offering degrees in Communication, Writing 
for Film and Television, and Multimedia. 



Opposite: 

Original Silver Star Design: Olaf Skoogfors 

Lapel Pin Production Coordinator: Sara Olsen '86 Crafts 

14k yellow gold with black enamel 

.65" diameter 



The University of the Arts 

College of Art and Design 




Silver Star Alumni Award Exhibition 



OCTOBER 16 - NOVEMBER 25, 2009 
The University of the Arts 
Rosenwald-Wolf Gallery 
Hamilton Hall Arronson Galleries 
320 South Broad Street 
Philadelphia, Pennsylvania 



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1955 


1967 


1983 


1998 


Irving Penn • 


Morris Berd • 


Thomas P. Schutte 


Janice and Stanley 


Tina Leser • 






Berenstain * 




1968 


1984 




1956 


Arnold Roth • 


Kevan Moss * 


1999 


Raymond Ballinger • 






Johnny Irizarry 


Henry C. Pitz • 


1969 


1985 






William Stephens * 


Jacob Landau * 


2000 


1957 






C. Samuel Micklus * 


Wharton Esherick • 


1970 


1986 




Charles Sheeler * 


George Krause • 


Wesley Emmons • 


2001 

Myra Mimlitsch-Gray 


1958 


1971 


1987 




Earl Milliette 


Sidney Goodman * 


Stephen and Peggy Turner 


2002 


Sol Mednick * 


1972 


Zablotny • 


Eileen NefF ♦ 


1959 


Paul Keene, Jr. * 


1988 


2003 


Warren Blair • 




William G. Krebs * 


Ric Kidney • 


Frances Lichten • 


1973 








Noel Mayo • 


1989 


2004 


1960 




Ken Carbone • 


Joseph Musso * 


John William Brown 


1974 


Leslie Smolan • 




Marguerite Gaudin • 


Barry Wilke 




2005 


Dana P. Vaughan 


Eugene Feldman • 


1990 

Marjorie Levy 


Susan Weichman * 


1961 


1975 




2006 


Irene Laverty 


Richard Reinhardt • 


1991 


Don Moyer * 


Boris Drucker * 




Ed Colker * 






1976 




2007 


1962 


Olaf Skoogfors * 


1992 


Dan Dailey * 


Mildred Jantzen 




Jerry Pinkney * 






1977 




2008 


1963 


Elaine Kurtz * 


1993 


Charles Long * 


Virginia Mason GifFord • 




Joe Dante * 






1978 




2009 


1964 


Albert Gold * 


1994 


Richard Amsel ♦ 


Al Bendiner • 




Ruth E. Fine * 


Quay Brodiers * 


Jerome Kaplan • 


1979 








Charles Santore • 


1995 




1965 




John E. Davis 




Joseph Kramer * 


1980 


Deborah Willis * 




Theodore Miller • 


Evelyn Copelman • 






Morris Lomden • 




1996 




Bernard Glassman • 


1981 

Marguerite Walter 


Tom Butter * 




1966 




1997 




Rudolph Freund 


1982 


Kathy Rose * 






Philip Eitzen 




* Exhibiting Artists 

Artists' Biograpliies page 64 



Introduction 



The impetus for the Silver Star Alumni Award Exhibition was to enhance the 
documentation of the work of the award recipients. Since we were celebrating 
the 50''' anniversary of becoming a College in 1959,' 2009 seemed to be 
an excellent year to do so. Celebrating the College fundamentally means 
celebrating the faculty, students, and alumni who collectively constitute the 
educational programs — the alumni are the legacy of the school, so featuring 
and celebrating the Silver Star recipients, the timeframe of which closely 
parallels the 50-year anniversary of the College, seemed like an important, 
worthwhile, and timely project. 

The College of Art and Design Silver Star Alumni Award recognizes the sustained 
career achievements of alumni artists, designers, and educators, as well as alumni 
in positions of leadership related to art, design, and education f elds} 

Each year. Award recipients are recognized at our commencement ceremony. 
They are part of the platform party, and are introduced while examples of 
their works are projected, then they receive the official award certificate and 
pin and say a few words. In recent years we have also asked the award recipient 
to attend the rehearsal the day before, in order to deliver a more substantial 
message to the graduating seniors. To our knowledge there has never been a 
comprehensive exhibition or catalog, documenting the work with biographical 
information of these Alumni Award recipients. 

The records available to us show that the Silver Star Alumni Award was first 
given in 1955, when photographer Irving Penn and fashion designer Tina Leser 
were so honored. Most recently, the Quay Brothers, animators Stephen and 
Timothy, and illustrator Richard Amsel — all three graduated in 1969 — were 
honored in 2009. 

I realized at the onset that this project would require serious sleuthing. We had 
a list of recipients that included 73 names,^ and some alumni from the early 
years would be difficult to track down. 

This exhibition would also be quite diverse and eclectic — given the 55 years, 
and the comprehensive range of majors that the College has offered. Over 
the past 24 years since I have been dean, I have worked with the department 
chairs to assure that we attempt to distribute the award as broadly across the 
spectrum of major programs as possible, and I believe we have identified at 
least one recipient from all areas of the College during this time. > 



One of the real pleasures of the project was getting to know more about the 
recipients and their careers. It was particularly exciting to see the diverse routes 
people took and how they applied their art school education. Certainly, the 
vast majority found their way directly from their major program experience, 
but a good number didn't move in a straight line. Former Advertising majors 
become known for their illustration or painting, a painter is now recognized 
for his sculpture, an illustrator works in the film industry, and a number of 
people moved into executive positions in schools, agencies and other arts 
organizations. It confirmed our long held beliefs that what is learned in an arts 
education can prepare a person for multiple career paths. 

I felt this project should not only be focused on silver star alumni work, 
but alumni should be primarily involved in the project's development and 
realization. I asked alumna Tara Poag, 2008, to serve as curator and exhibition 
designer. Tara received her MFA in Museum Exhibition Planning and Design, 
and brought excellent organizational and planning skills to the project. I 
invited Joe Rapone, 1978 Graphic Design and 2003 Art Education, to design 
the catalog and exhibition announcement. Joe had been involved throughout 
the College @50 anniversary year, designing the @50 mark and framing 
guidelines for all @50 related publications and cards. Joe is also an Associate 
Professor teaching in the College's Foundation and Electronic Media areas 
and has been extremely helpful and generous with his time, and is the ultimate 
professional. John Carlano, 1978 Photography, is a highly regarded professional 
photographer in the Philadelphia area, in addition to maintaining his own 
impressive record as an artist. One of John's particular talents is shooting fine 
art work for many artists, so I was very pleased that he agreed to work on this 
project documenting alumni work. John is also an Adjunct Professor in our 
Photography program. 

Nancy Burlan, secretary and unofficial editor in the Dean's Office, led the 
considerable backup support for organizing and communicating this project 
to the alumni. We divided up the sleuthing, but Nancy did much of the 
follow-up and tracking down of people with Tara Poag. We also had back- 
up sleuthing and editing by Regina Barthmaier, Assistant to the Dean; Sara 
MacDonald, Public Services Librarian (Honorary University Historian); 
Adrienne Stalek, Associate Dean; and Tracy Farquhar, Crafts Secretary, who 
filled in for Nancy over the summer and went through all of the alumni 



biographies. It has been an ongoing office activity throughout the late 
spring and summer of 2009 as lists were handed back and forth over 
vacation schedules. I recall the occasional exclaim of excitement when 
someone would find a contact for an unknown Silver Star recipient — and 
we all felt quite wonderful and rewarded when the response from a family 
member would be so appreciative that we were doing this project. 

While we weren't able to include the work or biography for every Silver 
Star recipient, I am pleased that we managed to get a relatively high 
percentage. We are also aware that there are many other College of Art 
and Design alumni who have had wonderfully satisfying careers, who 
have received critical recognition and accomplished important work. 
We would hope that they keep in touch with the University, so that we 
can continue to feature — in our University publications and exhibition 
spaces — the excellent work of our alumni. 

Stephen Tarantal, Dean 
College of Art and Design 
October 2009 



1. In 1959 the Philadelphia Museum School of Art was granted accreditation by the 
Middle States Commission on Higher Education and changed its name to the Philadel- 
phia Museum College of Art, 

2. Most Silver Star recipients have been studio artists, but some have been leaders 
such as presidents, provosts, deans of colleges and schools, or the executive director of 
community-based arts organizations. Others have been creative directors of advertising 
and design agencies, or editors and art directors of major publications. 

3. This exhibition focuses only on College of Art and Design alumni. Beginning in 1987, 
after becoming the University of the Arts, both the College of Art and Design and the 
College of Performing Arts each annually select Silver Star Alumni Award recipients 
representing the arts disciplines from their respective programs. 



Irving Penn 



Philadelphia 
College of 
Art 

Broad and Spruce Streets 
Philadelphia. Pennsylvania 19102 

Address Correction Requested 



Spring '82 



Nonprofit Organization 



Paid 

Philadelphia. Penrisyivama 
Permit Mo 1103 



POSTMARK 



PCA 



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Vbg»je CoDV'grii 1977 by Ifvrng Pern 



PCA's Main Gallery Glories In "Earthly Bodies" by Irving Penn 



More than 76 silverpnn! photographs of the female nude by world renowned 
fashion photographer Irving Penn. PCA alumnus. '38. were handsomely 
exhibited in the Colieges Mam Gallery from January 25-February 18. 1982 
The photographs, made in Penn's leisure hours in 1949-50, were lucked 
away in a box for the last 30 years "I was afraid lo show them'; Penn 
slated in a Newsweek interview. "I was afraid they might stiock Ihe public" 
In 1980, at age 63. he took them out of hiding lo exhibit Ihem tor the first 
lime at Marlborough Gallery in New York City The show received rave 
reviews as some of the most exciting photographs that had been shown in a 
long time. 

The 76 photographs, printed by Penn himself, each measure 16' by 20' 
Startling tn contrast lo his belter known lashion photographs. Rosalind 
Krauss slated in the catalogue. "The large suite of photographic studies of 
Ihe nudes that Irving Penn made had lor htm the quality of a covert opera- 



tion, a kind of privately launched and personally experienced Kamikaze 
attack on his own public identity as a photographer of fashion If Penn's 
more widely known alternatives to the universe of fashion photography — 
those groupings of exotic peoples assembled, in Morocco, m Cuzco. m 
Nepal or Haight Ashbury— are collected by him as Worlds m a Small Room. 
then these nudes, in their conception and execution, might be thought ot as 
worlds m an even smaller room, one that is locked and private For these 
worlds are made in the sharpest contradiction to the public nature of 
fashion" 

The photographs were of a group of "carelree, loose-limt>ed ari school 
models (Note pholo ^^^) who made a mundane living by posing before aspmng 
painters m drafty studios They weren't concerned at)out making a 
perfect appearance They were willing lo be lat; said Penn to a Wewsweefc 

Conlinued on page 2 



Postmark PCA 

Offset lithography on newsprint 
11 xl2" 
Spring 1982 



Photo #1 Nude 150. 1997 

Courtesy Vogue 

Copyright ©1977 by Irving Penn 

Photo #2 Black/White Vogue Cover 

1950 Courtesy: Vogue Copyright © (renewed) 1978 

by The Conde Nast Publications. Inc. 

Photo #3 Sitting with Pink Face 

New Guinea, 1970 

Courtesy: Vogue 

Copyright © 1977 by Irving Penn 



Tina Leser 





Madras Dress 

Cotton 

Late 1940S-1953 

On loan from the collection of Ms. Sharon Hunt 

Living Doll Vintage Clothing & Accessories 

Peru, Illinois 






Raymond Ballinger 







Layout 

Offset lithography 

244 p. 11 X8.25" 

Van Nostrand Reinhold. New York 

1956 



10 



Henry C. Pitz 




B 



There Was a Horse: Folktales from Many Lands 

Phyllis R. Fenner (Editor) 

Illustrated by Henry C. Pitz 

Alfred Knopf, NY 

Ink on Bristol Board 

14.5x20.25" 

1941 

Collection of 

Thomas and Julia Pitz Barringer 



"At the age of six, I knew I fervently wanted to make pictures . . . 
I just think of myself as Pitz: Picture Maker." 



Wharton Esherick 



i 




Music stand 

Cherfy 

26x30" 

1962 

On loan from the 

Wharton Esherick Museum 



"My sculpture is almost entirely wood sculpture — not stone or metal. Some 
of my sculpture went into the making of furniture. I was impatient with 
the contemporary furniture being made — straight lines, sharp edges and 
right angles — and I conceived tree angles and free forms; making the edges 
of my tables flow so that they would be attractive to teel or caress ... I have 
said over and over again that just because vou are spending vour energy 
making something beautiful, it doesn't mean that it cannot be tunctional .., 
My design follows function." 



12 



Charles Sheeler 




Vermont Landscape 

Oil on canvas 

18x24.25" 

1924 

Woodmere Art Museum 

Charles Knox Smith Fund 

2004 



"My interest in photography, paralleling that in painting, has been based 
on admiration for its possibility of accounting for the visual world with an 
exactitude not equaled by any other medium. The difference in the manner 
of arrival at their destination — the painting being the result of a composite 
image and the photograph being the result of a single image — prevents 
these media from being competitive." 



13 



Sol Mednick 







Phototype Assemblage for 
Lifesized Photograph 

New York City 

44x44.25" 

c. 1950s 

Digital reproduction courtesy of 

Haverford College Library 

Collection 



"There was never any room in his life for mediocrity, nor is it possible to 
imagine a harassed Sol, a nervous Sol, a bitter Sol or a thoughtless Sol. 
Sol, meaning sun, was aptly named. He was patient, brilliant, constant, 
and life-giving. He nourished all of us ... A teacher in the most profound 
sense, the essential shape ot his life was a model for us — a model ot clarity 
and grace. We can only try and emulate what he achieved: to live responsi- 
bly, imaginatively and joyfully, and never to fear lite." 

— Milton Glaser 



14 



Warren Blair 




Wagon Pool 

Watercolor 

24x28" 

1994 



"The desire to record a moment in time or a specific mood with color values 
and design provide my motivation. The joy of expression seems reason enough 
to create, and the watercolor medium was chosen because of the never ending 
challenge of personal satisfaction and visual reward." 



15 



Frances Lichten 




Folk Art of Rural Pennsylvania 

Offset litfiography 
244 p. 11 X8.25" 
Bonanza Books, New York 
1946 



'To make the most of all that comes, and the least of all that goes." 

— Given in a memorial tribute to Frances Lichten 
by Joseph T. Fraser, Jr. Director of the Pennsylvania 
Academv of the Fine Arts, March 30. l^Xil 



!6 



Marguerite Gaudin 




H 



Grace Episcopal Cathedral 

San Francisco 

Stained glass 

Two-lancet windows 285 x 48" eacti 

Rose tracery 48" diameter 

1964 

Courtesy: Willet Architectural Glass 



17 



Boris Drucker 







"So far so good. Let's hope we win." 

Preliminary sketch for The New Yorker 
Graphite on paper 
10 X 13" 
1988 



Virginia Mason GifFord 




i 



Portrait of Wharton Esherick 

Oil on canvas 

26x30" 

1951 

On loan from the 

Wharton Esherick Museum 

Gift of Virginia Mason Gifford 

2004 



"Her personal style evolved over the years. Her early work was characterized 
by landscape, still life and figure drawings, and she never feared to explore 
different media. Portraits were a fascination for many years, and willing 
subjects included this painting of Wharton Esherick, William Kincaid, the 
world-renowned flutist and teacher, and J. A. Livingston, Pulitzer Prize- 
winning journalist and author. From portraits she grew to become a true 
student of modern art, delving mainly into abstract pieces. In the 1970's, 
she created her very own style of original 3-D 'pop' art canvasses. She 
painted well into her 80's." 

— Susan, Amy, and Lida GifFord, 
granddaughters of Virginia Mason Gifford 



19 



Al Bendiner 




i 

Outward Bound 

Charcoal, pencil, paint on board 
9.25x9.75" 






<Jvx <»V^, 



Untitled 

Charcoal, pencil, on paper 
8.5x9.5" 



Oklahoma 

Ink on board 
10.25x10" 
c.1940s-1950s 



20 



Jerome Kaplan 



Pass to Town 

Lithograph 

18.5x14" 

1952 

On loan from Anne Kaplan 




"Jerry didn't really like artist's statements, either by himself or by other 
artists, so I have selected what seems to me to be an accurate description of 
Jerry and his work, written by George Bunker in 1973: 'His works do not 
analyze: they are not carpentered; nor do they illustrate concepts. They do 
not so much inform us about the world as present another view of it — and 
from the vulnerable side. His people and places and situations exist with 
their own vitality. His world is quite as strange, layered, beautiful, awkward, 
unknowable and complex as the human condition. Only, once encountered, 
whether through one print or many, we find thereafter that there is another 
dimension to our own imagination.' " 



-Anne Kaplan, 2009 



21 



Joseph Kramer | Theodore Miller | Morris Lomden | Bernard Glassman 






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Ad Poster 

40x40" 

Panel Design: Debby Larkin and Mlndy Glassman 

Scanning/Output; CRW Graphics 



22 



Morris Berd 



Midsummer 

Oil on canvas 

40x40" 

1975 




"These Pennsylvania farms, mostly Amish, seem to possess a quality of 
dignity and design not commonly found in any other area. The farm 
buildings are beautifully proportioned and maintained in prime condition. 
The land is well used but not depleted. One is aware of the tough sparseness, 
nothing fancy or superfluous, simply a pervading sense of calm order 
and purpose. Here one can see and experience what has recently become 
so fashionable to espouse: ecological conservation, recycling of natural 
products, and a minimum of waste and pollution. These themes have 
always been the trademarks of the providential Amish farmers. What one 
senses most, however, is their love of the land and pride in their work and 
necessary possessions. It is no accident that these farms became for me a 
symbolic antidote with which to protest these frustrating and confusing 
times. If only I could capture that magic moment — a special time of day 
and season when everything seems to fall into that perfect order and 
tightness." 



23 



Arnold Roth 





Top left: 
Benjamin Franklin 

Ink and watercolor on paper 

14x 19" 

2003 

Bottom left: 

Seasoned Cool<: Shal(er Lemon Pie 

Ink and watercolor on paper 

13.75 X 17" 

1984 

Esquire Magazine 

Top rigtit: 

William Penn's Treaty with the Indians 

Ink and watercolor on paper 

13.25x20.5" 

2003 

Bottom right: 

Hockey Cheats 

Ink and watercolor on paper 

16.75x23.25" 

1999 

Sports Illustrated Magazine 

Collection of Eugene Bolt 



"My drawings have two major elements: humor and artwork. 

"The humorous comment, observation, idea, etc., is the hteral element. The 
artwork is the aesthetic element and is drawn and designed in an expressive 
manner to guide the reader's eye through the picture in an order that will 
provide the greatest legibility, comprehension, and enjoyment. My purpose 
and pleasure is in seeking to have both elements serve their purpose 
as best as can be accomplished at that time, in the time allotted, with 
considerations for the sensibilities and comprehensibility of the readers. 

"Contemporaneously, the literal element is the major consideration. In the 
long run, the artwork will be ot paramount importance, ^"ith all that, my 
grave marker should read 'Another Deadline Met." 



24 



William Stephens 





Stand-up Desk, 

Executive open office system 

Cherry 

55.5x48x30" 

1992 



25 



George Krause 



i 




Swish, Rome 

Gelatin silver print 

13.25x17,5" 

1980 

On loan from Gallery 339, 

Philadelphia 



"My work explores a land that is on the one side by the "real' imagery of 
photography and on the other side by the world of fantasy, bridged with 
a touch ot humor." 



26 



Sidney Goodman 







Baby Luke 

Oil on canvas 

48x56" 

2004 



"I have always been attracted by opposites. Things earthbound and things 
airborne hold a strong interest for me. My efforts and concerns have been 
towards finding the forms that will fit the needs of the imagination." 



27 



Paul Keene, Jr. 



i 




Cape May #11 

Acrylic on paper 

30x22" 

1988 

Lent by Dolan/Maxwell 

Philadelphia 



"I Still find it difficult writing about my work because there are always 
aesthetic disagreements within me arising from the struggle to stay focused 
and in control. 

"The stimulant, however, is always there. It is essential that I am guided by 
a knowledge of tradition and a knowledge ot how to construct a basis from 
which a new basis can emerge. This is necessary in order to go forward in 
the development of the work. 

"I have as a stimulant those ideas that will not rest easily but the task is 
finding a basis from which a logical construction can emerge." 



Noel Mayo 




Maquette 

Great Hall Lightning 
Pennsylvania Convention Center 
Painted aluminunn, Plexigias 
46x46x30" 
1993 



r^ 




R 



Nova and Vierti 

Lutron® Light Dimmers 
Snap-on Faceplate 
Polycarbonate, aluminum 
4. 5 X 275 X. 25" 
2009 



"Attending the Philadelphia College of Art and majoring in industrial 
design expanded my understanding of the design arts, which included 
not only product design, but also interior, graphic, exhibit, packaging, 
color and lighting design as taught by the likes of Joseph Carreiro, 

William Daley, and Richard Reinhardt. I chose industrial design because 
of my interest in working in all of those areas and more. 

"Teaching allowed me to continue learning while, at the same time, 
demystifying the design process for students and clients. I am currently 
working with students and professionals alike to develop solutions related 
to aging in the existing home while increasing safety, convenience, health 
(longevity is increased by more than 10 years, compared to living in a 
nursing home) while at the same time, reducing energy costs." 



29 



Eugene Feldman 



H 




Neagle's View of Venice 

Offset litfiograpfiy 

23x35" 

1958 

On loan from Rosina Feldman 



"In the eyes of most museums, the offset ptess is not yet a legitimate source 
of Fine Art. Even though most official arbiters have come to accept the 
printing press and pure graphics as worthy of consideration, they still resist 
offset and photographic plates in printing as too much a product of the 
machine and too little the creation of a human hand. Yet to deny the use of 
one machine while accepting another is like telling a painter that one brush 
is outlawed while another is sanctioned. I believe that machines — the offset 
press as much as the handpress — are no more or less worthy of respect than 
any other tool that comes between the artist's mind and his or her work. 
The same will hold true of new tools such as electronic printers." 



30 



Richard Reinhardt 




10.20.89 

Handwrought sterling silver 

2x275x2.65" 

1975 

6.6.81 

Handwrought sterling silver 

.875x2.875x2.25" 

1975 

Collection of Sharon Church 



"I am a craftsperson, except that sometimes I think I have been an attist. 

"My wotk has been a simple (sometimes complex) investigation of the found. 
I am deeply intetested in continuousness, continuity and circularity, in 
interiors and exteriors, and in the perception of what is real and what is 
apparent. 

"I pursue this interest through the forging and fabrication of functional pieces 
of jewelry, mostly bracelets and neckpieces. My medium is sterling silver. 

"I have a tremendous respect for, and draw great inspiration from, the work of 
the countless and mostly unnamed smiths who transcend the function of 
their work when they produced that truly magnificent body of art we know 
as armor. 

"While my goal is always to make sound contemporary wearable jewelry, 
I hope the result is more than just that." 



— Richard Reinhardt's observations about himself 

in Broad Spectrum: Artists who teach at the 

Philadelphia College of Art; Elsa S. Weiner, Curator, 1981 



31 



Olaf Skoogfors 



Wl 





< 
i 

i 


M 



Four Belt Buckles 

Top left: Bronze, brass, silver 

2,875x2.125" 

Bottom left: Nickel plated bronze and silver 

3x2" 

Top right: Nickel plated bronze 

2,875x2,125" 

Bottonn right: Silver, brass, bronze 

3x2,125" 

1972 

On loan from Judith Skoogfors-Prip 



"I consider myself to be an artist as well as a craftsman. The same efforts that 
go into painting or sculpture go into my jewelry. If this medium is a lesser 
art, then I am a lesser artist . . . 

"The forms and imagery of my jewelry often occur with minimum pre- 
planning. One cast form suggests additional forms or stones, and pieces 
are added much in the manner of a collage. I never feel limited by a 
preconceived idea, but need freedom to make alterations based on my 
response to the piece. 

"I feel that good jewelry must act as decoration, but it should also reach 
beyond these limits to satisfy greater aesthetic needs. Thus, another aim in 
my jewelry is to make a meaningful statement about torms. texture, color, 
balance, etc., in common with other art forms. 

"My work is a search for personal answers, each answer leading to more 
questions. Therein lies the fascination ot jewelry to me." 

— Excerpted from Olaf Skoogfors, The American 
Contemporary Jewelry Exhibition, Tokyo, 1968 



32 



Elaine Kurtz 



^H 



Triptych 

Silkscreen on paper 
30 X 24" each 
1975 



"Elaine Kurtz' work of the seventies were cool, intellectual geometric 
abstractions. By the 1990's with her Alluvial Paintings, she was creating 
an abstracted, minimalist planet Earth. Formulating her own geology in 
a time of rapid deforestation she devised her own natural phenomenon: 
a union of the artist's eye and the minerals that compose the earth's 
crust: ergo a pure composition that balanced the Earth with the artist's 
touch. Through unique patterns defined by sand, pebbles, mica and other 
materials, the Alluvial Paintings series distilled natural phenomena and 
redefined abstraction. As Susan Rothenberg wrote, 'The expanding scale of 
texture in Kurtz' paint medium in the 1970's and 1980's — from paint to 
pigment and mineral — adds dimension and grain to the visual. Pursuing 
paint back to its material origins redefines the modernist search for the 
essence of medium, redirecting it toward nature and away from the canvas 
confines.' " 



-Judith Stein 



33 



Albert Gold 



m 



Walking in the Park 

Oil on Masonite 

26x20" 

1953 

On loan from Aurora Gold 




"My affection has been tor those painters whose work has mirrored the 
world and the times in which they Uved. While I enjoy works in various 
idioms, I remain essentially a realist. I was fortunate in having among my 
teachers Franklin Watson, Earl Horter and Henry Pitz, and their examples 
and precepts have guided me throughout my career. While I have been 
influenced by many sources I think m\- work has a personal 'look,' a visual 
identity, which I consider essential in an artist's work." 



34 



Charles Santore 




Life & Adventures of Santa Claus 

Watercolor 

12x20" 

2009 



"My career as an illustrator has been my passion and interest for the past 50 
years. The first 25 years was a combination of learning, developing, and the 
challenge of applying it all to those important assignments, the first ones 
a young illustrator is fortunate enough to get; for me that was advertising, 
followed by magazine illustration. It was exciting, varied, and I spent many 
happy years completely engrossed in it. 

"Then I was fortunate to get my first book assignment, illustrating Beatrix 
Potter's Tales of Peter Rabbit. That experience changed my approach to the 
entire meaning of Illustration. The long narrative of a book requires an 
illustrator to sustain characters, build drama, and visualize text. It was an 
exhilarating experience. Like juggling, one must keep all the balls in the 
air simultaneously. So I plod on, reading, drawing, painting and practicing. 
Now, 15 or so books later, I find myself still at it, trying to keep all the balls 
in the air." 



35 



Evelyn Copelman 




The Wizard of Oz 

Frontispiece 

Bobbs-Mernll Company: Illustrated by Evelyn Copelman 

Watercolor, ink, crayon 

11.75x8. 5" 

C.1956 

Courtesy; Susan Spivak Bloom & Joan Bloom 



36 



Kevan Moss 




MUSEUMS 
Conceptuaf ancf ej(fii6it design 




Museums Exhibit Panel 

20x30" 



"I believe in small towns. I am drawn to arts-related community projects 
that need the assistance of a professional designer or project coordinator. I 
try to bring private sector organizational methods to these not-for-profit 
objectives. 

"It has always been important to me to apply my talents to projects that 
I feel are useful to society: the design of educational exhibits and the 
dissemination of design information to a lay public. 

"I am committed to working with museums, to share their collection 
resources, knowledge and skills, and with rural community organizations, 
getting people to think visually about their surroundings." 



37 



Jacob Landau 



B 




Satanic Wheels 

Watercolor 

30 X 44" 

1993 

Courtesy: Monmouth University and 

The Jacob Landau Institute 



"If in my work, I seem to stress the tragic, it is because of a felt need to 
counter the fake cheerfulness of our culture, its smiles Max-Factored out of 
all resemblance to the human. Do I relish tragedy? I am sure that I do, to 
a degree. I contain both victim and executioner. I contain anger and love 
about the present, anxiety and hope for the future. 

"My art tradition is the German, not the French. My idea tradition is 
the ancient Hebrew involvement with prophecy and protest. I see the 
human body as paradigmatic-all that we call universe is contained in 
its form. Drawing and color are the twin tundaments ot mv stvle. I seek 
whole-person, whole-cosmos interpenetration, but oken succumb to mv 
obsessions. For me, art is more than formal exploration or exploitation. 

Without it, we are an endangered and endangering species." 



38 



Wesley Emmons 



Star Pin 

Sterling silver 
2,65 X 2,5 X ,25" 
c,1980 




"When I began the study of art, I was consumed by the desire to create in 
three dimensions. Jewelry gave me this opportunity in a medium which 
allowed me the challenge I sought. I am glad there is a renewed interest 
in the crafts because it would be a shame if society suffered from the 
limitations upon design that are sometimes imposed by industry. People 
must rebel against the status quo, and seek relief in the personalized touch 
that the artist-craftsman presents. Improvise as you go and fulfill your 
potential as best you can, this will lead to happiness in your life as both a 
person and an artist." 



39 



Stephen Zablotny 





Rising Water 

Poster and Set Design 
Digital print on board 
2008 



"I have always been interested in art and objects; how they work and 
why they work. I first thought of a career as an architect, but during an 
interview with an industrial designer while I was in high school a whole 
new world opened up. This interdisciplinary field offered me more than 
architecture alone. I was very fortunate to be at Philadelphia College of 
Art, at a time when the emphasis was on process and problem solving. The 
critical lesson I learned is how to consider, define and solve a problem, be it 
an object or a process. I like to think of myself as a designer not just as an 
industrial, graphic, scenic or some other defining title, because designers are 
by definition problem solvers and 1 feel design is a process, not a thing." 



40 



Peggy Turner Zablotny 



In The Spring 

Botanical Collage Fine Art Print 
Iris Giclee 
25 X 25" 
2004 




"As an art major in high school, I planned to study fine arts, however, after 
freshman year I became intrigued by the opportunities in the Industrial 
Design Department at PCA where I was fortunate to have an incredible 
experience in problem solving methodology; something I always use no 
matter what project is at hand. 

"My botanical collage compositions combine my fine art and design 
passions together in my personal form of expression. As long as I can 
remember, I have been influenced and fascinated with the art in nature . . . 
colors, textures, structure, patterns, details and composition. What is most 
striking to me is nature's brilliance ... it continues to astonish and excite 
me. My botanical collage compositions celebrate the discovery of nature 
through the medium of original prints in order to share my vision with 
others." 



41 



William G. Krebs 




Atrium TRW Headquarters Building 

Designed to reflect the tone and charac- 
ter of the corporate culture, the atrium is 
an oasis in the center of the "X" shaped 
building and was conceived as a place 
where the hundreds of employees would 
enter, interact and leave the building. The 
Cleveland climate was also a critical fac- 
tor in the decision to create an environ- 
ment that would be enjoyed throughout 
the year, thus increasing the productivity 
and well being of all employees. 
1985 




"Attending the Philadelphia College of Art and discovering Philadelphia 
which was going through 'urban renewal' of the 60's was incredibly 
inspiring. The philosophy of multi-disciplinary integration of the arts 
and the redefining of the city set the stage for what would become a 
foundation of my philosophy of design, management and communication. 
'Pop' Renzetti (the creative, passionate educator), Dick Reinhardt (the 
creative, tough Marine, Master Craftsman), Chuck Burnette (the visionary, 
philosopher, architect and designer), Joe Carreiro (the entrepreneur, 
educator implementer) encouraged me to go on to graduate school at 
Cornell where Joe was then the head of the Department ot Design and 
Environmental Analysis in the College oi Human Ecology. 

"I was able to grow and apply experiences and theory to what has become a 
passion to share and enable others to continue to learn from each other and 
bring creativity to business environments and processes." 



42 



Ken Carbone 



Signage System Design 

Musee du Louvre, Paris 
Carbone Smolan Agency 
24x 18x .75" 
1989 







"Growing up in a blue-collar family rooted in South Philadelphia, art 
was never the topic of dinner conversation. However, I've had an active 
passion for art since childhood. In high school I begged my mother to 
switch me from Catholic school to public school so I could take art classes. 
Fortunately, she obliged and began to nurture my interest. I always felt 
I'd have a career in art, and when I began my studies at PCA the die was 
cast. I was so fortunate to have influential mentors who saw qualities in my 
work that steered me from fine art to graphic design. It was the late Edna 
Andrade who during my foundation year introduced me to Ken Hiebert, 
then the Chairman of the Graphic Design Department and the door to a 
new creative world was opened. 

"Now, 40 years later I still feel that design is the ideal profession for me. 
It has allowed me to travel the world and work on exciting projects for 
prestigious clients. As a child, I could have never imagined that I'd be 
working in places as far reaching as Jakarta, Paris and Kyoto creating 
work that would be recognized worldwide." 



43 



Leslie Smolan 




Nizuc 

Resort and Private Residence 

Brand Identity 

Carbone Smolan Agency 

9x11 x1" 

2007 




"In an increasingly fast paced world, I believe that details matter. That 
content and design go hand in hand. That good ideas are made better 
by great execution. That striving for perfection is more important than 
achieving it. If I make something of quality, people will notice. No 
assignment is unimportant. I strive to give my clients what they need 
even if it's not what they deserve. Although my work as a designer may be 
considered ephemera, I believe that it contributes to the social fabric of 
society — by informing, coaching, entertaining, surprising, and teaching 
people how to make informed choices in their lives. And regardless of 
its effect on everyone else, it satisfies my own endless curiosity about 
the world." 



44 



Ed Colker 




Desertstones 

Portfolio Edition 
Letterpress and lithography 
14x8.5x2" 
2008 



"My enthusiasm is devoted to the hmited edition with text, as illumination 
growing out of collaboration and response. At the Philadelphia Museum 
School, my introduction to this universe came from teachers Arthur 
Williams (art of the French book), Benton Spruance (lithography) and Ezio 
Martinelli (etching and engraving). My work aims generally to express 
symbol and metaphor. Occasionally figurative, the visual forms are drawn 
from nature and because of my interest in poetry, linked to an 'image' or 
setting. I attempt to vary the responses to an idea so that they are not in the 
same or repetitive style (but from the same hand). If the work appears to be 
abstract, it is due to trying to distill an essence — seeking a spiritual unity 
with the source." 



45 



Jerry Pinkney 




Bound for That Other Side 

Pencil, watercolor on paper 

19x26.5" 

1997 




"I am a storyteller at heart, so each project begins with this question: 'Is this 
story worth telling?' 

"I grew up in the Germantown section of Philadelphia, Pennsylvania. Most 
of the members of my small African-American community had migrated 
from the South. What impressed me as a young boy was the way my family 
members and neighbors expressed themselves through stories. Whether in 
the oral tradition or in music that one embraced, Gospel, Blues, or Jazz, 
it was all about the delivery of a well-told story. I chose to express myself 
through picture making, visual storytelling. Drawing and painting helped 
me to tap into that part of my being that needed to create. My work today 
imitates the energy and the animated way in which stories were told during 
those impressionable years. 

"African-American history and culture takes up the most space in my 
body of work; this too springs Irom my childhood. Over the years I have 
been fortunate to create works for a varietv ot projects. All, when at their 
best, enhance and enlarge how I see the world around me. Yet it is those 
projects that speak to the African-American narrative that give me a sense 
of purpose and the most satisfaction. I love the act oi making marks on 
paper, and seeing those marks develop into a picture. Mv intent and hope is 
to lead viewers into a world that onlv exists because ot that image. In many 
ways, I believe the work that I do is a torm ot citizenship, a wav ot being 
and contributing to our countrv." 



46 



Joe Dante 




«^v 






The Burbs 

Directed by Joe Dante 

Title card 

Credit witin Bruce Dern 

1989 



Gremlins 2 

Directed by Joe Dante 
Film clip 
1990 
Twilight Zone 

Directed by Joe Dante 

Title card 

1983 

Innerspace 

Directed by Joe Dante 

Title card 

1987 




47 



Ruth E. Fine 





Four Months: January; April 

(a work in progress) 

Accordion format boolc 

Linoieum cut and letterpress 

775x4,65"x.65 

2009 

Lent by Janus Press 



"Louis Menand wrote in a recent New Yorker that creative writing 
workshops taught 'the importance of making things ... You care about 
things that you make, and that makes it easier to care about things that 
other people make.' Caring for and writing about other peoples art have 
been my primary concerns since 1972, although I have continued to make 
paintings and works on paper rooted in the experience of landscape. 

"I was in the first class of majors in 'general arts," a designation tor 'fine arts," 
which the then design-dominated college apparently was uncomfortable 
overtly adding to the curriculum. That has changed. My important teachers 
presented diverse models of how to focus life as a painter/printmaker: Edna 
Andrade, George Bunker, Louis Finkelstein, Jerry Kaplan, and Larry Day, 
who later became my husband. The others all became friends, and to them 
and other PCA-ers, especially Bill Daley, I remain very grateful." 



48 




Parables 

30x30" 
InkJet print 
2008 











Deborah Willis 



"Alice Walker wrote, 'What did it mean for a black woman to be an artist 
in our grandmothers' time? In our great-grandmothers' day? . . . How was 
the creativity of the black woman kept alive, year after year and century 
after century, when, for most of the years black people have been it was a 
punishable crime for a black person to read or write? And the freedom to 
paint, to sculpt, to expand the mind with action did not exist.' Walker asks 
the reader to imagine these questions in a provocative voice. She asks us to 
explore the possibilities of these experiences and reinvest in black female 
agency as a way of locating an identity of the black female artist in history. 
I have for sometime referenced my own family in my art work by making 
photographs, photo quilts and installations about their lives. I share this 
story as an introduction to how I use photographs and memory to make 
constructed and fabricated histories about black women and women of 
other cultures. My photographs preserve collective memories. For me the 
photography is an instrument of memory, one that explores the value of self, 
family, and memory in documenting everyday life. Photographing pregnant 
women is a transformative act, one that can instill a sense of joy, dignity 
and pleasure. These photographs incorporate text of stories I overheard, 
artists sent to me and the subjects shared with me over the past three years." 



49 



Tom Butter 



■ 



S Machine 

87x20x20" 
Metal, wood fabric 
2008 




"Dualistic tensions suggest the functional incompatibility of so many things 
in our world. 

The images are divided in fundamental ways in order to focus on the means 
of opposition as well as the means of joining. 

Duality requires, and produces, both doubt and hope. 

Elements work together, but do not become part of- a seamless whole. 

The work is both with and against the natural world — simultaneously 
formal and highly subjective. 

Tension and polarity illuminates our own sense of being in the world, and 
concurrently feeling separate horn it. 

Unusual and interesting aspects of presence emerge trom an amalgam ot 
the forms." 



50 



Kathy Rose 




Kleopat'Ra 

Excerpt from performance 
2009 






"At the Philadelphia College of Art I was led into a fascination with 
drawn animation, which evolved into my integration of dance with film. 
The hallucinatory and an eeriness in performance is what interests me 
most. I also find I am drawn to the supernatural aura of Japanese Noh 
theater with the emphasis on the power of stillness. In 'Kleopat'Ra' I 
portrayed a figurine, wearing gilded makeup, with eyes painted on my 
lids, which dripped off at the end of the piece, leaving vacant orbs. I have 
since been working with this empty-eyed invented character, recast as an 
iconographic personage placing the figure into more dimensional settings 
in live performance through the use of veils and multiple projection 
surfaces, to increase the irreality. In addition, I have been creating short 
videodance works using my own figure combined with other faces to create 
a compelling personal puppetry." 



51 



Janice and Stanley Berenstain 





The Berenstain Bears and Too Much Pressure 

Family on Tight Rope: Title page 

Random House 

Pen and India ink with transparent watercolor 

8x16" 

1992 



The Berenstain Bears and the Truth 

Brother and Sister Bear with soccer ball: 

Two-page spread 

Random House 

Pen and India ink with transparent 

watercolor 

8x16" 

1983 



"We made hay while the sun shone, however, drawing and painting side 
by side at school hfe and costume classes, at zoo nature-studv classes, at 
Rittenhouse Square landscape classes, and at art-museum architecture 
and composition classes. We had other moments together at concerts, the 
library. Hedgerow, and Horn & Hardart's Automat, a few blocks from 
school." 

— ^Janice Berenstain's reflections on life with her classmate 
and future husband, Stanley, at the Philadelphia Museum 
School of Industrial Arts. From Page 73, Down a Sunny Dirt 
Road, Random House Children's Books. 2002 



52 



C. Samuel Micklus 



Odyssey of the Mind 

Team Packets 

8.5x 11" 

1999-2002 

2007-2008 

2003-2004 

Courtesy: Creative Competitions 

Inc. 




Wmi 



"Studying Industrial Design at the Philadelphia College of Art gave me 
the foundation for teaching through problem solving. While teaching at 
Rowan University, I began each course with a creative problem solving 
project. One required students to design a 'floatation device' that would 
carry them around a course on a lake. They could spend $5.00, but couldn't 
use gasoline engines. The results included bicycle-powered crafts, a 'hamster 
cage' device and floating trash cans. These projects were the roots of the 
Odyssey of the Mind program. 

"Each year schools receive a packet with new problems. I believe that the 
packet cover should reflect its contents. Each problem has an icon, must be 
interesting, divergent and fun. 

"Teams from around the world compete to qualify for the Odyssey of the 
Mind World Finals. This year 785 teams of five to seven people competed 
at Iowa State University. They came from Canada, China, Germany, Hong- 
Kong, Mexico, Poland, Singapore, Slovakia, South Korea and the USA." 



53 



Myra Mimlitsch-Gray 



Wmm 




Driftware 

Raised, formed, hollow-fabricated 

In silver 

5x9x12" 

2007 



"My work presents objects in states of transition; their forms reflect the 
tension surrounding social contracts and circumstances. I engage craft 
as object, image and subject. I investigate the agency of form and seek to 

empower making as content." 



54 



Eileen NefF 



The Field and the Plane 

edition 6/7 

C-print on aluminum 

39x37.75" 

2007 

Courtesy Locks Gallery 







"I want my work to offer an image of the world as the great mystery that it 
is. The primary focus is in the landscape, which provides an endlessly rich 
vocabulary for the kind of photographic constructions I create. As much 
as the landscape, I love engaging the conventions of seeing and picturing 
as a source of syntactical invention. The works move freely between the 
apparent ordinariness of a found image and sheer abstraction, sometimes 
appearing closer to painting's pictorial strategies than what we expect 
from photography. Having formally studied painting before photography, 
and poetry before painting, I consider the ideas and boundaries between 
disciplines to be fluid. In that sense, I'd like my photographs to quicken 
one's sense of attention and presence, the way sculpture can.' 



55 



Ric Kidney 



i 



Legally Blonde 

Movie Poster-Style A 

11 x17" 

2001 

© Metro Goldwyn Mayer 

Pictures Inc. 







"To me a good artist is not one who merely exercises a series of innate 
creative impulses; it is one who utilizes a learned crah built upon basic 
premises that can be torever applied to one's work. Those basics I learned 
at the University of the Arts: starting with 2D and 3D design, to drawing, 
photography and filmmaking . . . Some of us come with greater God-given 
talent, that cannot be disputed, but those that strive to perfect their craft, 
along with their talent, will always be rewarded, and this University, with 
the combination of the performing arts and the visual arts, will continue to 
provide the environment that fosters the greatest artistic achievement." 



56 



Joseph Musso 




Custer's Charge Near Gettysburg 

Oil on canvas 

36x48" 

1978 



"As a youth, I had three loves — art, motion pictures and history. I loved to 
draw and by the time I was eight, I was heavily influenced by the comic art 
of Bob Lubbers, Hal Foster and Wallace Wood. By the time I was twelve, 
I found myself painting with watercolors and oils to recreate the imagery 
of motion pictures that impressed me. At the same time, I loved to read 
historic books and challenged myself to create illustrations based on them. 
I was determined that I would eventually move to Los Angeles to work 
in the film industry, illustrating the words of the script and blocking out 
camera angles with storyboards in preproduction, prior to filming. The 
first formal training I had was when I attended the Philadelphia Museum 
College of Art. While there, I was fortunate to have some great illustrators, 
like Albert Gold, Isa Barnett and Robert Riggs, as my mentors. Through 
them, I also became influenced by the impressionism of Cezanne, the 
anatomy of Michelangelo and visuals of Rubens. I continue to try to apply 
fine art to whatever I'm trying to accomplish. If the viewer feels that I have 
been successful, it's because I have succeeded in utilizing the best of what 
all the above masters had to offer and, hopefully, added a few humble 
touches of my own." 



57 



Susan Welchman 




National Geographic Society 

National Geographic Magazine. 
February 2009. Vol.215, No, 2 
Collector's Edition 
January 2001, Vol! 
Your Shot 
September, 2009 



"I grew up in a very small New York state town where my father was a 
butcher. I hated every minute of school except for art class. I went to college 
and felt worse. Then! The Philadelphia College of Art — the three greatest 
years of my life! Surrounded by people making things! Encouraged by my 
photography teacher Ray Metzker." 



58 



Don Moyer 









ii ii afni: 



You Say Po-Tay-Toes, 
I HearTo-Mah-Toes 



February 2004 

Harvard Business Review 



"The capacity of people to misunderstand each other has impressed me daily 
in both my personal and professional life. As George Bernard Shaw said, 

'The greatest problem with communication is the assumption that it has 
taken place.' The same mental agility that allows our minds to construct 
meaning from the most subtle cues is paradoxically the same knack that 
breeds misunderstanding. This image, created for my Harvard Business 
Review series, is my attempt to diagram the communication problem. You 
probably won't understand it." 



59 



Dan Dailey 





Think 

Blown glass, sandblasted, acid 
polished, Anodized aluminum 
24,5 X 14x8.5" 
2007 



"My sketchbooks are full of imaginings born ot meditation on various 
subjects . . . What begins as an ethereal wisp in my 'mind's eye" becomes 
somewhat real as an ink drawing, then very real as an object." 



-From Dim Dailey bv William ^''armus 



60 



Charles Long 



P 




Untitled 

Acrylic over steel, mixed media 

100x58x27" 

2009 

Courtesy: Tanya Bonakdar Gallery, New York 



mmt 




61 



Richard Amsel 



The Return of the Great Adventure. 





x.„ HARRISON FORD 
KAREN ALLEN RAUL FREEMAN RONALD UCEY JOHN RHYS-DAVIES DENHOLM ELUOn 
•JOHN WILLIAMS ■■ ,. :■ ,.„- GEORGE LUCAS .. HOWARD KAZAN JIAN >- ,.-, UWREN CE KASD AN <v.,GEOfiffijyaS^PHlJPI«lJR«N 

.FRANK MARSHALL a,.-..., STEVEN SRELBERG . -, i . ..„■ M^^" t':.!T>™i^ ":%,>■;:■<- s-^i > 



Raiders of the Lost Ark 

Poster 

Color lithographic print 

41 x27" 

1982 

Copyright © Lucasfilm Ltd, 



"In 1981, Paramount Pictures commissioned Richard to do the artwork tor 
Raiders of the Lost Ark, now recognized as an iconic poster tor a classic 
film. He also did the poster for the film's re-release in the summer of 1982, 
another wonderful piece. Paramount continues using both of these images 
to this day." 

— Remembering Richard .^msel. bv Dori.in H.innaw'ay, 
Rich<7rd AmscI: A Rnrospectiir, The I'niversity of the Arts, 
2009 



62 



Quay Brothers 




The Street of Crocodiles 

Detail of Tailor's Shop Decor 

1986 

Frame from 

Stille Nacht I (Dramolet) 

Commissioned by MTV 
1988 



"There are moments of grace in life, fragile, beautiful moments which go 
into eclipse, and that's what we search for . . . We're always looking for the 
things on the edges obscured by shadows, and we try to drag those things a 
bit more into the light, lest they disappear." 



63 



Artists' Biographies 



Richard Amsel (1947-1985) '69 Illustration 
Richard Amsel was born in Philadelphia. While he was still an 
illustration student at the Philadelphia College of Art, his proposed 
poster art for the Barbra Streisand musical Hello Dolly! was selected 
by 20* Century Fox for the film's campaign. He went on to create 
some of the most recognizable, iconic show business imagery of 
the late 20* century. He designed posters for more than 30 major 
motion pictures, and produced nearly 40 TV Guide cover illustrations, 
numerous album covers and concert posters. Amsel won many 
awards, including one from the New York and Los Angeles Society of 
Illustrators, a Grammy Award, a Gold Key Award from the Hollywood 
Reporter, and citations from the Philadelphia Art Director's Club. An 
Amsel retrospective was exhibited m spring 2009 at the University 
of the Arts' Rosenwald-Wolf Gallery to mark the acquisition of more 
than 500 of his sketches and illustrations designated as a teaching 
resource for the University. 

Raymond Ballinger (1907-1985) '31 Advertising Design 
Raymond A. Ballinger was born in Philadelphia. He was widely 
recognized as a graphic designer, art educator and author. He worked 
for such distinguished clients as the Aluminum Company of America, 
Children's Hospital of Philadelphia, and the Mutual Assurance 
Company. He was a Professor of Graphic Design from 1932 to 1967 
and held the title of Emeritus Professor at his alma mater. He won 
numerous awards from such associations as the Art Directors' Club 
and the Printing Week Exhibitions, and was president of the former 
organization. He wrote several books, including Layout and Graphic 
Design, which is still considered a classic. Lettering Art in Modern 
Use, and Sign, Symbol, and Form (co-authored with his wife, Louise 
Bowen Ballinger). 

Al Bendiner (1899-1964) c.1918 

Al Bendiner was born in Pittsburgh, Pennsylvania. He received both 
a BA and an MA in architecture from the University of Pennsylvania 
in Philadelphia, and he attended the Philadelphia Museum School 
of Industrial Arts (now the University of the Arts) and the American 
Academy in Rome, Italy. He was an architect, artist and author who 
was called "the Hirschfeld of Philadelphia" due to his humorous 
celebrity caricatures. He opened his own architectural firm in 
Philadelphia in 1929; among his architectural designs are the original 
offices of the Blue Cross of Greater Philadelphia. His illustrations of 
local concerts and plays were published in the Philadelphia Evening 
and Sunday Bulletin from 1938 to 1946, and he wrote and illustrated 
humorous books and articles based on his personal experiences and 
travels. He was awarded numerous mural commissions, including 
one from Gimbel Brothers in 1952 for the mural at the Academy of 
Music. He was assigned a staff position as an artist on the University 
of Pennsylvania archaeological expeditions to Iraq in 1936 and 
Guatemala in 1960. 

Morris Berd (1914-2007) '36 Advertising Design 
Morris Berd was born in Philadelphia in 1914. He received a BFA from 
the Pennsylvania Museum School of Industrial Art in 1935 and began 
teaching there in 1941 . During his tenure of more than 40 years, he 
had over 20 solo exhibitions. In 1952, he won the Philadelphia Murals 
Competition sponsored by Gimbel Brothers. He retired from full-time 
teaching in 1979 and continued to teach part-time until 1985. He 
was awarded Professor Emeritus in 1986, His work was obtained 
by numerous corporations and private collectors, as well as all the 



important Philadelphia museums and other institutions around the 
country. In 1988, the American College in Bryn Mawr exhibited a 
retrospective of his Lancaster County farmscapes, the series for 
which he is best known. His last solo exhibition. Works on Paper, 
at the University of the Arts in 2001, featured abstract geometric 
watercolors done between 1990 and 2000. 

Janice (1923-) and Stanley Berenstain (1923-2005) '45 Illustration 

Janice and Stanley Berenstain were both born in Philadelphia in 
1923. They met on the first day of art school at the Philadelphia 
Museum School of Industrial Art in 1941, and married in 1946. They 
both enjoyed cartooning and, soon after they married, they began 
submitting cartoons to magazines. The Saturday Evening Post and 
Collier's regularly published their cartoons, and they produced the 
comic strip S/ster from 1953 through 1955. The first book featuring 
the Berenstain Bears family. The Big Honey Hunt, was published in 
1962. Stan and Jan went on to write and illustrate more than 250 
books featuring the Berenstain Bears; more than 260 million of these 
books have been sold over the years. Their sons, Michael and Leo, 
have also helped illustrate many of the books. The Bear family is 
featured in many children's museum exhibits including a permanent 
one at the Strong National Museum of Play in Rochester, New York. 
Jan continues to write and illustrate children's books, along with her 
son Michael, in Bucks County, Pennsylvania. 

Warren Blair '47 Advertising Design 

Warren Blair attended the Philadelphia Museum School of Industrial 
Art where he received awards for distinguished achievement 
in design in 1947 and the Alumni Award in 1959. In addition, he 
received the Graphic Arts Industry of the Delaware Valley Award in 
1975 and the Man of the Year Award by the Art Directors' Club of 
Philadelphia in 1984. He served as president of the Art Directors Club 
and is a lifetime honorary member. He is a member of the prestigious 
American Watercolor Society and a lifetime honorary member of 
the Philadelphia Watercolor Club. He has exhibited widely, and most 
recently had a solo show in 2006 at The Goggleworks in Reading, 
Pennsylvania. He is internationally recognized for his 32 years of 
service as Corporate Design Director of SmithKline Corporation (now 
Glaxo) headquartered in Philadelphia. Blair has been retired for many 
years, and now lives at The Highlands of Wyomissing in Reading. 

Tom Butter '75 Printmaking 

Tom Butter was born in Long Island, New York in 1952. He received 
a BFA from the Philadelphia College of Art in 1975 and an MFA from 
Washington University in St. Louis, Missouri in 1977. He has been 
living and working in New York City since 1977. He has participated 
in numerous solo and group exhibitions nationally and internationally, 
and his exhibitions have been reviewed in many major publications, 
including Art in Amenca, Artforum, Arts. The New York Times, and 
The New Yorker He received three National Endowment Grants 
and two New York Foundation for the Arts Grants. His work is in 
the permanent collections of the Metropolitan Museum of Art. the 
Pennsylvania Academy of Fine Arts, the Walker Art Center, and the 
Indianapolis Museum of Art. Butter teaches in the MFA Fine Arts 
Program at Parsons, the New School for Design, and in the Sculpture 
Department at Brooklyn College. He has also taught at RISD. Tyler, 
the University of the Arts, Harvard, Yale, Brandeis and the School 
of the Museum of Fine Arts in Boston. Recently, Butter has been 
conducting a series of in-depth artist interviews for Whitehot 
Magazine, an internet publication. 



64 



Ken Carbone '73 Graphic Design 

Ken Carbone was born in Philadelphia and graduated from the 
Philadelphia College of Art. He is the Chief Creative Director at the 
Carbone Smolan Agency and is among the nation's top graphic 
designers. He has worked with such noted corporations as Herman 
Miller, Christie's, the W Hotel Group, Taubman, W.L. Gore, Morgan 
Stanley, Nonesuch Records, PBS and Tiffany & Co. In addition, his 
portfolio includes designs for the MusSe du Louvre, MoMA, The 
Pierpont Morgan Library, The Chicago Symphony Orchestra and 
The High Museum of Art in Atlanta among other culturally revered 
institutions. Carbone is also the author of The Virtuoso: Face to 
Face with 40 Extraordinary Talents; he regularly lectures and has 
been featured in numerous articles internationally. He is presently 
an adjunct professor at the School of Visual Arts in New York and is 
a featured blogger for FastCompany.com. In addition to his design 
career, Carbone has been an avid guitarist for more than 40 years. 

Ed Colker '49 Advertising Design 

Ed Colker was born in Philadelphia in 1 927 and graduated from 
the Philadelphia Museum School of Industrial Art and New York 
University. He has been a Guggenheim Fellow and a Florsheim 
Fund grantee, among other distinctions. His prints and portfolio 
editions, exhibited throughout the United States and internationally, 
are represented in collections including those of the Museum of 
Modern Art in New York, the Philadelphia Museum of Art, Harvard, 
Columbia and Yale universities, among others. A retrospective 
exhibition of his work, along with the catalogue Five Decades in Print, 
organized by the University of Arizona Museum of Art, toured the 
United States in 1998 and 1999 with final exhibitions in New York 
in 2003 and 2004. Most recent appreciations appeared in Amencan 
Letters & Commentary, 2008, featuring his art in collaboration with 
poet Michael Anania. He has served as a founding provost of the 
University of the Arts, provost of the Cooper Union, provost of Pratt 
Institute and has been a consultant to universities, state boards, 
the National Endowment for the Arts, the United Sates Information 
Agency/Department of State and the State of Israel's Council for 
Higher Education. 

Evelyn Copelman Spivak (1919-2003) '41 Illustration 
Evelyn Copelman Spivak graduated from the Philadelphia College 
of Art and later served on the Board of the college. She had a long 
career in children's book illustration, and was a young artist at the 
Harrison advertising agency when Mr. Harrison literally threw a copy 
of L. Frank Baum's The Wizard of Oz on her desk and told her to get 
to work making new drawings. Her now famous illustrations were 
published in 1944, and in a revised edition in 1956. In 1995, she was 
made an honorary member of the International Wizard of Oz Club 
at the group's annual Munchkin Convention. Her illustrations also 
appeared in the Our New Fnends books featuring Dick and Jane and 
We Were There with Florence Nightingale in the Chmea, along with 
dozens of other books. After retiring from illustration in the 1960s, 
she became an interior designer. 

Dan Dailey '69 Fine Art 

Dan Dailey was born in Philadelphia in 1947. In 1972 he received a 
Fulbright Fellowship to Italy where he worked at the Venini Glass 
Factory on the island of Murano. He has also received fellowships 
from both the Massachusetts Council on the Arts and the National 
Endowment for the Arts. For 30 years, he has been an independent 
artist/designer for Cristallierie Daum, France. In 2000, he was 
honored with the Libensky Award, the fifth Artist Series release, by 
Chateau Ste. Michelle Vineyards and Winery, and in 2001 he was 



awarded the Master of the Medium Award by the James Renwick 
Alliance. Since 1971, he has participated in over 300 group juried 
and invitational exhibits and has had numerous solo exhibitions. He 
has completed more than 60 architectural commissions for various 
institutions and private residences, and his work is represented in 
more than 50 museum and public collections in the United States, 
Europe, Australia and Japan. He works primarily in his Kensington, 
New Hampshire studio with the help of his staff of assistants, and he 
is a professor at the Massachusetts College of Art where he founded 
the Glass Department in 1973. 

Joe Dante '68 Photography 

Joseph James "Joe" Dante was born in 1946 in Morristown, New 
Jersey. He studied at the Philadelphia College of Art and after 
graduating, he became a film critic for the Film Bulletin newspaper for 
which he later became the managing editor. He worked as an editor 
for such films as Grand Theft Auto before co-directing Hollywood 
Boulevard with Allan Arkush. His first full feature film. Piranha, was 
released in 1978. After the release of The Howling m 1981, he was 
noticed by Steven Spielberg for whom he directed the third segment 
of Twilight Zone: The Movie in 1983. His first really big hit, GremJins, 
which was also produced by Steven Spielberg, was released in 1984. 
Dante would work with Spielberg again on Innerspace and Gremlins 
2. Subsequent releases include Amazon Women on the Moon (1987), 
Small Soldiers (1 998), and Looney Tunes: Back in Action (2003). He 
was creative consultant on the TV series Eerie, Indiana (1991-1992) 
and directed five episodes; he played himself in the series finale. He 
also directed the Halloween 2007 episode of CSI: New York. Dante's 
latest film, the 3-D thriller The Hole, is slated to be released in 2010. 

Boris Drucker (1920-2008) 42 Advertising Design 
Boris Drucker was born in Philadelphia, and graduated from the 
Philadelphia Museum School of Industrial Arts. He served in the 
Army during World War II, and after his discharge, interviewed at 
an advertising agency in Philadelphia where an executive advised 
him he was a cartoonist, not a graphic designer. His prolific career 
included published work in the Saturday Evening Post. Playboy. 
Family Circle and The New Yorker, as well as advertising campaigns 
for many corporate clients such as Bell Telephone and Philadelphia 
Savings Bank. In addition to cartooning, Drucker taught advertising 
and commercial art at his alma mater in the 1960s. He contributed to 
The New Yorkerior three decades beginning in 1966, and eventually 
opened a studio in New York. His archive, including hundreds of 
published works and approximately 12,000 rough drawings, is 
housed at Syracuse University's Special Collections Resource Center. 

Wesley Emmons '54 Jewelry/Metals 
As a young man, Wesley Emmons was greatly influenced by 
Japanese arts and culture during the three years he spent there 
in the U.S. Army following World War II. When he returned to the 
U.S. he attended the University of the Arts, then known as the 
Philadelphia Museum School of Art. He graduated with a BFA in 
Jewelry and Silversmithing. After a three-year apprenticeship he set 
up his shop and showroom with his wife Ellen just a few blocks away 
from Broad and Pine and has been there ever since. While working 
to establish his own business he taught jewelry and silversmithing 
at the Philadelphia College of Art in the Continuing Studies Program. 
Emmons established a reputation for outstanding craftsmanship 
and design in fine jewelry, religious artwork, and award design. 
Recipients of awards designed by Emmons include: Martin Luther 
King Jr., who received a pectoral cross; George Jessel, who received 
the City of Hope Humanities Award; J. Robert Oppenheimer; and 



65 



Mstislav Rostopovich who received the Curtis Institute of Music 
Award, a recent commission. Emmons is respected not only in 
artistic circles, but also in the Philadelphia civic and business 
communities. His workshop and retail showroom have been Center 
City fixtures for 50 years. 

Wharton Esherick (1887-1970) 

Wharton Harris Esherick was born and raised in Philadelphia. He 
studied drawing and printmaking at the Museum School for the 
Industrial Arts and received a scholarship to study painting at the 
Pennsylvania Academy of the Fine Arts. However, he made his 
mark in the art world with wood sculpture, applying the principles 
of modernism to functional objects to create furniture, furnishings 
and buildings that bridged the gap between art and craft. Esherick 
was the living link between the Arts and Crafts movement of the late 
19* century and the craft revival of the 1950s. He was dubbed the 
"dean of American craftsmen" by the later generation of craftsmen 
who followed in his footsteps. His work has been widely exhibited 
both during his lifetime and posthumously. His pieces are in many 
permanent collections including the Philadelphia Museum of Art, The 
Pennsylvania Academy of the Fine Arts, the Metropolitan Museum in 
New York, the Renwick Gallery of the Smithsonian, and the Museum 
of Fine Art in Boston. His greatest work of art is his hand-crafted 
home and studio, now the Wharton Esherick Museum, a National 
Historic Landmark for Architecture located just west of Valley Forge, 
Pennsylvania. 

Eugene Feldman (1921-1975) '42 Advertising Design 

Eugene Feldman was born in Woodbine, New Jersey and attended 
the Philadelphia Museum School of Industrial Art. He founded the 
Falcon Press printing company in 1948, and was appointed Director 
of Typography at the Philadelphia Museum School of Art in 1956. 
He published several books, including Doorway to Portuguese and 
Doorway to Brasilia with Aloisio Magalhaes, Tlie World of Kafka 
and Cuevas, designed by Louis Glessman, and The Notebooks and 
Drawings of Louis I. Kafin, with Richard Saul Wurman. In 1962, 
Feldman was appointed Associate Professor of Graphic Arts at the 
University of Pennsylvania's Graduate School of Fine Arts. He was 
awarded a Guggenheim Fellowship for Research in Photo Offset 
Lithography in 1966; he received commissions from the Philadelphia 
Board of Education and the Haas Community Fund, and he designed 
two books for the Philadelphia Museum of Art: Spotbook, A Portfolio 
of Animal Pnnts and Multiples, f/ie First Decade. 

Ruth Fine '62 Painting 

Ruth Fine was born in Philadelphia, and received her BFA from 
the Philadelphia College of Art and MFA from the University of 
Pennsylvania. She has taught drawing, printmaking, and design at 
PCA, Beaver College, and the University of Vermont. Since 1972, 
Fine has served as a curator for the National Gallery of Art: she 
was with the Lessing J, Rosenwald Collection in Jenkintown until 
1980, and subsequently at the National Gallery in Washington. She 
has organized many prominent exhibitions and contemporary print 
workshops, has written numerous essays and articles and recently 
coordinated a national gifts program with art collectors Dorothy 
and Herbert Vogel. Fine is also a painter/printmaker whose work 
is in the permanent collections of the Victoria and Albert Museum 
Library in London, the Museum of the Book, The Hague, and the 
National Library of Canada, as well as Columbia University, Bryn 
Mawr College, Dartmouth College, the Boston Public Library, and 
IBM Corporation. She has illustrated five limited-edition books and 
lectures frequently. 



Rudolf Freund, Jr. (1915-1969) '36 Diploma 
Rudolf Freund graduated from the Philadelphia Museum School 
of Industrial Art in 1936 (his father, Rudolf, Sr., also attended 
PMSIA). He was a prolific wildlife artist whose meticulously detailed 
illustrations appeared in many books and magazines. Beginning 
with LIFE magazine in the 1940's, he was noted for his studies of 
insects and his recreations of extinct animal species. Many volumes 
of the LIFE Nature Library contain his illustrations, and he illustrated 
numerous nature books and guides including Butterflies and Moths: 
A Study of the Largest and Most Beautiful of the Insects. Wonders 
of the Sea and A Guide to Familiar American Wildflowers. He was 
a member of the Sketch Club in Philadelphia and the Art Students' 
League in New York, and he worked as a preparatory at the American 
Museum of Natural History. 

Marguerite Gaudin (1909-1991) '30 Advertising Design 
Marguerite Gaudin graduated from the Pennsylvania Museum School 
of Industrial Art. She began her career doing freelance commissions 
for the Curtis Publishing Company, including a monthly cartoon for 
Jack and Jill magazine called Finney the Office Goldfish. In 1 931 , 
she joined the Willet Stained Glass Studios and, after ten years. 
became the principal designer. During her 60 years designing for 
Willet Studios, she created windows for hundreds of churches and 
secular buildings, located in all 50 states and five foreign countries. 
Among her notable design achievements were the last six windows 
executed in the Cathedral of St. John the Divine in New York City; 
fagade windows for the St. Anselm's Meguro Church in Tokyo, 
Japan: and one of the largest faceted glass installations in the 
world, the 30,000 square feet of glass for the Museum of Science, a 
permanent building constructed for the 1962-63 New York World's 
Fair. Gaudin was also a highly skilled calligrapher, who designed 
hundreds of illuminated commemorative scrolls and widely-exhibited 
watercolors. 

Virginia Mason Gifford (1907-2003) '30 Advertising Design 
Virginia Mason Gifford was born in Connecticut and relocated to 
Philadelphia in 1917. She was a graduate of the Philadelphia Museum 
School of Industrial Art. Gifford was a member of the Board of 
Governors of the Philadelphia College of Art and served on the 
Alumni Board of Directors. She received the Alumni Medal of Merit 
in 1966. Her illustrations were published in Jack and Jill arid Nature 
magazines and in The Evil Eye, authored by her husband, Edward 
S. Gifford, Jr., M.D. Her artwork also adorned the book jacket of 
Think Fink, a book of poetry by Newbold Dunn. Her prints were 
purchased by the Library of Congress and she had solo exhibitions 
at the Philadelphia Art Alliance and Fleisher Art Memorial. Her work 
was also shown at the Pennsylvania Academy of Fine Arts, the 
Philadelphia Museum of Art, Boston Museum of Fine Arts and the 
Riverside Museum of New York. 

Albert Gold (1916-2006) '38 Illustration 
Albert Gold was born in Philadelphia, and graduated from the 
Philadelphia Museum School of Industrial Art. His lithograph. Market 
Workers, was exhibited at the 1939 World's Fair in New York. In 
1942, Gold was awarded the coveted Prix de Rome, given annually 
by the American Academy in Rome, and the Decorated Order of the 
British Empire. He was drafted into the army and became one of 
three official combat artists in Europe. During the war, hundreds of 
his paintings were hung at the Pentagon, in museums in Paris and 
London, and at the Smithsonian Institution. After his discharge, he 
began his 37-year teaching career at his alma mater, retinng in 1982 



66 



as head of the Illustration Department and Professor Emeritus. He 
received numerous awards and grants throughout his career, and his 
works are in the permanent collections of the Metropolitan Museum 
of Art in New York, the Library of Congress, the National Gallery in 
London and the Musee Galliera in Paris, among others. 

Sidney Goodman '58 Illustration 

Sidney Goodman was born in 1936 in Philadelphia, and attended 
the Philadelphia College of Art from 1954 to 1958. He has received 
numerous awards and fellowships, including the John Simon 
Guggenheim Memorial Foundation Fellowship, The Fellowship of 
the Pennsylvania Academy of Fine Arts, Percy M. Owens Memorial 
for a Distinguished Pennsylvania Artist, an NBA Fellowship, and 
an Award in the Visual Arts from the Southeastern Center for 
Contemporary Art in Winston-Salem, North Carolina. Goodman 
received an Honorary Degree in 1996 from the Art Institute of 
Boston and was elected to the National Academy of Design in 1998. 
He also received an Honorary Doctor of Fine Arts degree from the 
Lyme Academy College of Art in 2007. He has had solo exhibitions 
in many institutions, including the Philadelphia Museum of Art, the 
Pennsylvania Academy of Fine Arts, and the Columbus Museum, 
among others. His work is in the permanent collections of numerous 
prominent museums including the Metropolitan Museum of Art 
in New York, the Whitney Museum of American Art in New York, 
The Museum of Modern Art and The National Portrait Gallery. He 
is currently represented by ACA Gallery in New York and Samuelis- 
Baumgarte Gallerie in Germany. Goodman resides in Philadelphia. 

Johnny Irizarry '83 Painting 

Since graduating from the Philadelphia College of Art with a BFA 
degree in painting, Johnny Irizarry has been building cultural and 
educational institutions directed toward advancing Latino culture 
in Philadelphia. He has worked with students ranging from the 
very young in Head Start through college age, and has served as 
chief administrative officer of a bilingual charter school, program 
specialist for the School District of Philadelphia, executive director/ 
CEO of The Lighthouse (a North Philadelphia settlement house), and 
executive director of a Latino arts and cultural community center. 
Taller Puertorriqueho, where many of his programs developed there 
used the arts as an agent for social change, justice, and community 
development. Among Irizarry's many awards and honors are the 
Paul Robeson Social Justice Award and an honorary doctorate 
from Swarthmore College. Irizarry currently serves as director of La 
Casa Latina, the Center for Hispanic Excellence at the University of 
Pennsylvania. 

Jerome Kaplan (1920-1997) '47 Advertising Design 

Jerome Kaplan grew up in Ardmore, Pennsylvania. He graduated 
from the Philadelphia Museum School of Industrial Arts. Kaplan 
began teaching lithography the fall after graduation and intaglio in 
1955, and was appointed Professor and Chair of the Printmaking 
Department in 1965. He taught until he retired as Professor Emeritus 
in 1987. He was granted a Guggenheim Fellowship in 1961 and 
the Tamarind Fellowship in 1962; he received the Philadelphia 
College of Art Alumni Award in 1964 and was selected as one of 
the Outstanding Educators of America in 1972. Kaplan had 21 solo 
exhibitions between 1950 and 1994 when a retrospective exhibition 
of his work was held at The Print Club in Philadelphia. His work is 
represented in permanent collections in this country and abroad 
including the Art Institute of Chicago: Cleveland Museum of Art; 
Museum of Fine Art, Boston; Yale University of Art Gallery; The 



Museum of Modern Art; the National Gallery of Art; the Philadelphia 
Museum of Art; Whitney Museum of American Art; the British 
Museum; and the Victoria and Albert Museum. 

Paul Keene, Jr. '42 Illustration 

Paul Keene was born in 1920 in Philadelphia, and enlisted in the army 
in 1941 . He graduated from the Philadelphia Museum School of Art 
in 1942 and received an MFA from Temple University Tyler School 
of Fine Arts. He also studied at the Academie Julian in Paris, where 
he became a part of Gallery 8, and exhibited with Picasso and Leger 
at the Salon de Mai. He received Whitney Fellowships in 1952 and 
1954, which allowed him to direct courses at the Centre D'Art in 
Port-au-Pnnce, Haiti. Keene taught at the Philadelphia College of Art 
from 1964 to 1968, and at Bucks County Community College from 
1968 to 1985, where he helped to establish a new art department. 
He retired from teaching in 1985. His work is in many permanent 
collections, including the African American Museum in Philadelphia, 
the British Museum, the Nigerian National Museum, and the 
Philadelphia Museum of Art. A solo exhibition is planned for 2010 in 
the Woodmere Museum of Art. 

Ric Kidney '75 Photography & Film 

Richard "Ric" Kidney has worked in the motion picture industry 
for more than 30 years since his graduation from the Philadelphia 
College of Art with a BFA degree in Photography and Film, In 1981 
he was accepted into the Directors Guild of America and has had 
a prolific career in the industry. He is also a member of the Screen 
Actors Guild. Kidney has produced many notable and award-winning 
films, including: Of/ierPeop/e's Monej/ (1991); Six Degrees of 
Separation (1993); Legally Blonde (2001 ); Life or Something Like It 
(2002); Four Brothers {2005); Shooter {2007); Imagine That {2009) 
and Salt {to be released in summer 2010). Kidney received the Silver 
Star Alumni Award in 2003. 

Kramer '47 Miller '43 Lomden '47 Glassman '47 Advertising 
Joseph Kramer (1922-2004), Theodore Miller (1922-1995), Morris 
Lomden (1923-1985). and Bernard Glassman (1923-1998) attended 
the Philadelphia Museum School of Art in the early 1940s, before the 
United States' involvement in WWII. All four served in the U.S. Army; 
Lomden and Glassman remained in Europe under the Gl Bill to study 
painting after the war. Returning to Philadelphia, they continued 
their studies at the Museum School (Kramer graduated in 1947 and 
Miller graduated in 1943, both with diplomas in Advertising: Lomden 
and Glassman received diplomas in Advertising from the Continuing 
Studies program in 1947) and began freelancing as graphic designers 
in the late 1940s 

In 1953, the four men incorporated KramerMillerLomdenGlassman, 
which rapidly grew to become the largest and most recognized 
graphic design firm in the Delaware Valley. During the forty years 
of their partnership, the work of KMLG appeared in articles in Print, 
Communication Arts, and Graphis. Their designs and films won 
many awards, including gold medals from the Philadelphia and New 
York Art Directors' clubs, the American Institute of Graphic Arts. 
Neographics, and a Cine Golden Eagle. 

Specializing in a variety of disciplines, the partners produced annual 
and corporate reports, logo and alphabet design, corporate identity, 
US postage stamps, collateral print and advertising design, signage, 
packaging, and promotional films. Their holiday cards were legendary 
in the Philadelphia advertising and marketing community for their 
humor and creativity. 

All four men had an avocation for the fine arts, and continued to 
paint, carve, sculpt, and make independent films their entire lives. 



67 



George Krause '58 Advertising Design 

George Krause was born in Philadelphia in 1937 and attended the 
Philadelphia College of Art on a scholarship. He received the first 
Prix de Rome and the first Fulbright-Hayes Fellowship ever awarded 
to a photographer, as well as two Guggenheim Fellowships and 
three grants from National Endowment for the Arts. In 1 993 he was 
the first photographer selected Texas Artist of the Year. Krause's 
photographs are found in the world's major museum collections, 
including the Museum of Modem Art in New York, the Houston 
Museum of Fine Arts, the Library of Congress, the Philadelphia 
Museum of Art and the Bibliotheque Nationale in Pans. In 1999 he 
retired from the University of Houston, where in 1975 he founded 
the photography program. He now lives in Wimberley, Texas with his 
partner Elizabeth White and their two dogs and five cats. 

William G. Krebs '66 Interior Design 

William Krebs grew up In Princeton Junction, New Jersey before 
moving to Philadelphia to attend the Philadelphia College of Art. He 
attended Cornell University Graduate School and spent one of his 
two years of military service in the Corps of Engineers in Vietnam. In 
1971, he joined Interspace Incorporated as a designer; he acquired 
the Philadelphia Office of Interspace in 1990 and led the firm until 
2000. He was Managing Principal of Cathers & Associates, an 
architectural, interior design and landscape design firm in Malvern, 
Pennsylvania until February 2009, when he became Principal of 
MGZA Architecture. He is currently involved in a variety of project 
types ranging from historic restoration and adaptive reuse, to 
corporate interior design and workplace consulting. In 2008, after 
more than 20 years of service, he retired from the Board of Trustees 
of the University of the Arts. He and his wife, Jeanne, have spent 
several years designing their current home that they had constructed 
in Chester County, Pennsylvania. 

Elaine Kurtz (1928-2003) '50 Advertising Design 
Elaine Kurtz was born in Philadelphia, and graduated from the 
Philadelphia College of Art. In the years following graduation, she 
earned her living as a free-lance illustrator. Twice the Philadelphia 
Art Directors Club awarded her their gold medal and three times 
Certificates of Merit for illustration. For four years she taught 
drawing at her alma mater. In 1966, Kurtz and her family moved to 
Washington, D.C. where she became a full-time working painter. 
Her first of five solo exhibitions came in 1970 at the Philadelphia Art 
Alliance and she won her first painting award the same year in the 
Annual Painting Show of the Cheltenham Art Center. Since 1970, 
her paintings and prints have been shown in more than 50 group 
exhibitions throughout the United States and Europe, and are housed 
in numerous collections, including the Philadelphia Museum of Art 
Painting and Print Collections. 

Jacob Landau (1917-2001) '38 Illustration 
Jacob Landau was born in Philadelphia where he studied at the 
Pennsylvania Museum School of Industrial Art from 1935 to 1938. 
He lived most of his adult life in Roosevelt, New Jersey, and had a 
distinguished career as Professor of Art at Pratt Institute, Brooklyn, 
New York, from which he retired as Professor Emeritus, and 
immersed himself in the town's artistic community, along with such 
noted artists as Ben Shahn. The art Landau created, from lithographs 
and paintings to monumental stained-glass windows for Keneseth 
Israel in Elkins Park, Pennsylvania, gained him an impressive 
reputation. Many of his works are included in the permanent 
collections of the world's finest museums, such as the Philadelphia 
Museum of Art, the Museum of Modern Art in New York (MoMA), 



and the Hirshhorn Museum in Washington, D.C. In addition. Landau 
received numerous awards and grants, including the National 
Endowment for the Arts, as well as a Guggenheim and Tamarind 
fellowships. His work has been exhibited extensively in Europe, 
Mexico, South America, and throughout the United States in over 30 
solo and 200 regional and national group shows. 

Tina Leser (1910-1986) c.1923 

Tina Leser was born Christine Wetherill Shillard-Smith in Philadelphia. 
She studied art at the Pennsylvania Academy of Fine Arts, the 
Pennsylvania Museum School of Industrial Art and the Sorbonne in 
France. She traveled through Asia, India and Africa as a child, and 
lived in Hawaii after her first marriage in 1931. In 1935, Leser opened 
a shop in Hawaii, selling high-quality clothing of her own design, 
and in 1 941 , she opened her own firm in New York. In 1 943, she 
joined the Edwin H. Foreman sportswear firm as a designer, where 
she remained until 1953; she then designed for her own firm, Tina 
Leser, Inc., until a brief retirement from 1964 to 1966. She retired 
permanently in 1982. Leser received many awards, including the 
Neiman Marcus and Coty Awards in 1945, the Sports Illustrated 
Sportswear Design Award in 1956, and the Philadelphia Festival of 
the Arts Fashion Award in 1962. 

Frances Lichten (1889-1961) 1907 Applied & Industrial Drawing 
Frances Lichten was bom in Bellafonte, Pennsylvania, and studied 
design and interior decoration at the Pennsylvania Museum School 
of Industrial Art, graduating with the class of 1907. She originated 
the idea for the Index of American Design, a federal art project 
which specialized in making a careful pictorial record of the folk arts 
of Pennsylvania, and served for over five years as the Pennsylvania 
State Supervisor. The Index is now housed in the National Gallery 
in Washington, D.C. She was an authority on Pennsylvania folk art, 
and published a book in 1946, The Folk Arts of Rural Pennsylvania, 
illustrated with her own drawings and paintings, for which she won 
the annual award from the National Art Club. In the 1950s Lichten 
served as archivist for the Pennsylvania Academy of the Fine Arts, as 
a consultant for Colonial Williamsburg, and as a research associate 
of the Philadelphia Museum of Art, where the Frances Lichten 
Research Collection is currently housed. The Research Collection 
contains illustrations, Victorian paper artifacts, and records of the 
social standards of the era. She published numerous books, including 
Pennsylvania German Chests. Folk Art Motifs of Rural Pennsylvania. 
and Decorative Art of Victona's Era. 

Charles Long '81 Painting 

Charles Long was born in 1958 in Long Branch, New Jersey, and 
received his BFA from the University of the Arts. In 1980 he attended 
the Whitney Independent Study Program in New York City, and 
received his MFA from Yale University. He is an internationally 
exhibited artist with over 30 solo shows, and his work has been 
included in many significant museum exhibitions such as the 
1997 and 2008 Whitney Museum Biennials: "Open Ends" at The 
Museum of Modern Art and "The Uncertainty of Objects and Ideas" 
at the Hirshhorn Museum, Washington D.C. He is the recipient of 
a Guggenheim Fellowship, two NEA Grants, two Pollock-Krasner 
Grants, a Louis Comfort Tiffany grant and the Award of Merit from 
the American Academy of Arts and Letters. He has collaborated 
with pop musicians and with the renowned choreographer Merce 
Cunningham. Long is represented by Shoshana Wayne Gallery. Santa 
Monica, California, and the Tanya Bonakdar Gallery In New York. He 
has taught at the California Institute of the Arts. Harvard University 
and the University of California, Riverside, where he is presently the 
Chair of Visual Art. 



68 



Noel Mayo '60 Industrial Design 

Noel Mayo was the first black graduate to receive a BS in Industrial 
Design from the Philadelphia Museum College of Art in 1960. 
He later became Chair of the department, making him the first 
African-American chairperson of an Industrial Design program in the 
United States. He held that post for eleven years and was awarded 
an honorary DFA degree from the Massachusetts College of Art 
in 1981. Since 1989, he has been an Eminent Scholar in Art and 
Design Technology and Professor of Industrial Design at the Ohio 
State University. Mayo has written for various journals including 
Innovation, The Wall Street Journal, Industrial Design, Arts Advocate 
and The Minority Business Journal. He is the owner and president 
of Noel Mayo Associates in Philadelphia, the first African-American 
industrial design firm in the United States. The firm's clients include 
NASA, IBM, the Departments of Commerce and Agriculture, 
Black and Decker, the Museum of American Jewish History and 
the Philadelphia International Airport. He has been instrumental 
in establishing various mentoring programs for minorities and 
establishing a directory of minority professionals in industrial, 
graphic, interior, and architectural design. 

Sol Mednick (1916-1970) '39 Advertising Design 

As a boy growing up in Philadelphia, Sol Mednick was raised in 
the atmosphere of his father's photography studio, and taking 
pictures was a natural part of his childhood. When he later enrolled 
at the Philadelphia Museum School of Industrial Art, there were no 
photo classes, so he studied design and graduated with the class 
of 1939. His greatest influence at PMSIA was Alexey Brodovitch. 
Mednick opened a photography studio in New York in 1949, where 
he did work for magazines and advertising agencies. In 1951, he 
began teaching at the Philadelphia College of Art and founded the 
Photography Department (which has evolved into the present Media 
Arts Department). He assembled a collection of photographs by 
well-known artists to use as teaching aids in the classroom, and 
he received the College of Art and Design Alumni Award in 1955. 
He was also a founding member of the Society for Photographic 
Education. Sol died unexpectedly on a trip to Paris, but his name and 
memory live on at the University of the Arts through the Sol Mednick 
Gallery, Philadelphia's only endowed gallery dedicated specifically to 
photography. 

C. Samuel Micklus '66 Industrial Design 
Dr. C. Samuel Micklus was raised in Cherry Hill, New Jersey. He 
received a BS degree in Industrial Design from the Philadelphia 
College of Art, an MA from Trenton State College and an EdD 
from New York University. He is a professor emeritus of Rowan 
University in Glassboro, New Jersey where he taught for 24 years. 
He has spoken at conventions and presented creative problem- 
solving workshops in 49 states in the U.S. and fifteen countries 
abroad. Micklus has written a number of books and magazine 
articles, and his work has appeared in numerous magazines 
including Smithsonian, National Geographic Worid, The Rotarian, 
Think Magazine, Family Circle and People Magazine. He was the 
recipient of The Garden State Pioneer Award, and the National 
Association for Gifted Children's E. Paul Torrance Creativity Award. 
His primary work has been in areas of creativity and design. He 
formed Creative Competitions, Inc., which developed the Odyssey of 
the Mind program. The Odyssey of the Mind was featured on several 
television specials internationally. Micklus lives with his wife Carole, 
in Bradenton, Florida. 



Earl Mllliette (1890-1975) '13 Certificates in Industrial Drawing, 
and Constructive Design and Modeling 

Earl Mllliette was born in Philadelphia, and graduated from the 
Philadelphia Museum School of Industrial Art. He taught for many 
years and was the Director of the Division of Fine and Industrial 
Arts in the School District of Philadelphia. He gave the 1946 
commencement address at his alma mater. 

Myra Mimlitsch-Gray '84 Crafts-Jewelry 
Myra Mimlitsch-Gray received her BFA from Philadelphia College 
of Art in 1984 and her MFA from the Cranbrook Academy of Art in 
1986. She has been the recipient of numerous awards, including 
Individual Artist Fellowships from the Louis Comfort Tiffany 
Foundation (1995), the National Endowment for the Arts (1994), and 
the New York Foundation for the Arts (1997, 2005). In 1998 she was 
awarded a Chancellor's Medal for Excellence in Teaching at the State 
University of New York. She has lectured and exhibited her work 
widely in the U.S. and abroad. Recent shows include: anti/icono/ 
clastic, a solo exhibition at Wexler Gallery, Philadelphia; "Raising the 
Bar" at Dovecot Studios, Edinburgh, Scotland; Ruthin Craft Centre, 
Wales; Middlesbrough Institute of Modem Art, Middlesbrough, 
England; and "True Grit: Frames, Fixations and Flirtations" at the 
McColl Art Center, Charlotte, North Carolina. She was a featured 
speaker at the 2009 Society of North American Goldsmiths 
conference in Philadelphia. Mimlitsch-Gray's work is included in the 
numerous public collections including the Boston Museum of Fine 
Arts, the Philadelphia Museum of Art, and the Victoria and Albert 
Museum in London, England. 

Kevan Moss '70 Architectural Design 

Kevan N. Moss, born in Newport, Rhode Island in 1948, received her 
Bachelor of Science & Environmental Design from the Philadelphia 
College of Art after study at Southern Illinois University. Since 
1988, her firm, Kevan Moss Design, has provided exhibit planning 
and design to museums, galleries, historic sites and universities 
and consultation on architectural and artistic projects for small, 
community-based agencies and non-profit organizations. In 1993- 
94, she was a Loeb Fellow in Advanced Environmental Studies at 
Harvard University Graduate School of Design. Prior to establishing 
her own design firm, she directed the Gallery Association of New 
York State, a cooperative that promoted the sharing of artwork 
among museums and visual arts organizations. Her past projects 
include permanent and temporary exhibits at America On Wheels, 
Allentown, Pennsylvania; Clarkson University, Potsdam, New York; 
Georgia Institute of Technology, Atlanta; Saratoga Automobile 
Museum; National Museum of Racing, Saratoga Springs, New 
York; Frederic Remington Art Museum, Ogdensburg, New York; 
The Norman Rockwell Museum, Stockbridge, Massachusetts; 
Maryland Historical Society, Baltimore; and Justin Smith Morrill 
Homestead, Strafford, Vermont, which was awarded a Certificate 
of Commendation by the American Association of State and Local 
History. 

Don Moyer '70 Graphic Design 

Don Moyer was born in 1948 and grew up in central Pennsylvania. 
He received a BFA from Philadelphia College of Art and an MFA from 
Yale University. Since 1970, he has worked as a graphic designer in 
Philadelphia, Toronto, New Haven, and Pittsburgh. In 1980, he helped 
start the Pittsburgh-based communication planning and design firm 
now known as ThoughtForm. With his partners Reed Agnew and 
Grant Smith, he received the AIGA Fellow award in 2008. Moyer 
lives in Pittsburgh where he leads design projects at ThoughtForm. 



69 



His professional focus is writing and designing Foglifters®-visual 
explanations of complex topics-for corporate clients. Since 2004, he 
has also created one-page visual essays each month for the Harvard 
Business Review. 

Joseph Musso '63 Illustration 

Joseph Musso received a BFA from the Philadelphia Museum 
College of Art. He was President of the Motion Picture Illustrators 
and Matte Artists for 30 years until its merger into the Art Directors 
Guild (ADG) in 2008. He now serves on the ADG's executive board. 
He has also been a member of the Art Directors Branch of the 
Academy of Motion Picture Arts and Sciences for 30 years. His 
recent films Include Clint Eastwood's Flags of Our Fatliers, Disney's 
The Santa Clause 3, The Curious Case of Benjamin Button and 
the forthcoming Steven Spielberg/Dreamworks' Hard 10. He has 
worked with Alfred Hitchcock, Irwin Allen, Frank Sinatra and John 
Huston, among others. Musso devotes an equal amount of time to 
researching and painting historical subjects, as well as collecting 
historical artifacts. He has been a guest speaker on the History 
Channel, the Outdoor Channel, the Public Broadcasting System 
and the Arts & Entertainment Network, and was made an Honorary 
Colonel by the governor of Kentucky for his historic research. His 
art, historic artifacts and movie memorabilia have been displayed in 
numerous museums, including The Texas State History Museum and 
The Academy of Motion Picture Arts and Sciences. 

Eileen IMeff '72 Painting 

Eileen Neff was born in Philadelphia in 1945. She received a BA 
from Temple University in 1967, a BFA from the Philadelphia 
College of Art in 1972, and an MFA from Tyler School of Art in 
1974. She is a photographer, installation artist and writer based 
in Philadelphia. Her work has been exhibited at The Philadelphia 
Museum of Art, The Institute of Contemporary Art and Vox Populi, 
Philadelphia, and Artists Space, New York, among others. She is 
the recipient of numerous awards, including a Pew Fellowship in 
the Arts and a Leeway Foundation grant, and Artists' Residencies 
at The MacDowell Colony in Peterborough, New Hampshire, and 
the Fabric Workshop in Philadelphia. She is represented by Locks 
Gallery in Philadelphia. She also writes art reviews for ARTFORUM 
International Magazine. Neff is currently a faculty member in the Fine 
Arts Department in the College of Art and Design at the University of 
the Arts. 

Irving Penn '38 Design Laboratory 

Irving Penn was born in 1917 in Philadelphia and graduated from the 
Pennsylvania Museum School of Industrial Art in 1938. His drawings 
were published by Harper's BazaaranA he also painted. He worked 
for many years doing fashion photography for Vogue magazine, 
using his unique, austere technique to photograph such subjects as 
Martha Graham, Marcel Duchamp, Georgia O'Keeffe, W. H. Auden, 
Igor Stravinsky, and Marlene Dietrich. He has published numerous 
books including the recent A Notebook at Random, which offers a 
generous selection of photographs, paintings, and documents of 
his working methods. The permanent collection of the Smithsonian 
American Art Museum possesses a silver gelatin print of Penn's The 
Tarot Reader, and the Irving Penn Archives, a collection of personal 
items and materials relating to his career, are held by the Ryerson 
and Burnham Libraries at the Art Institute of Chicago. Penn has had 
recent exhibitions at the J. Paul Getty Museum (2009), the Morgan 
Library and Museum in New York City (2008), the National Gallery of 
Art in Washington, D.C. (2005) and the Metropolitan Museum of Art 
(2002). 



Jerry Pinkney '60 Advertising Design 

Jerry Pinkney was born in Philadelphia in 1939 and studied at the 
Philadelphia Museum School of Art. He has illustrated over 100 
children's books since 1964, which have been translated into 11 
languages and published in 14 different countries. He has been 
the recipient of numerous awards and honors for his body of work, 
including five Caldecott Honor Medals, five Coretta Scott King 
Awards and three Coretta Scott King Honor Awards. In 2003, he 
received an Honorary Doctor of Fine Arts from the Art Institute of 
Boston at Lesley University and in 2006, the Original Art's Lifetime 
Achievement Award from the Society of Illustrators in New York. 
Pinkney has also had over 30 solo exhibitions and over 100 group 
shows in the United States, Japan, Russia, Italy, Taiwan, and 
Jamaica. He has illustrated for a wide variety of clients, and was 
appointed to serve on the U.S. Postal Services Citizens Stamp 
Advisory Committee from 1982 to 1992. He also illustrated and 
designed the White House Christmas Program in 2001. He lives with 
his wife, author Gloria Jean, in Westchester County, New York. 

Henry C. Pitz (1895-1976) '17 Illustration Diploma 
Henry C, Pitz was born in Philadelphia. In 1914, he graduated 
from West Philadelphia High School with a prize in history and a 
scholarship to the Pennsylvania Museum School of Industrial Art. 
After returning from World War I, he taught there, where, for 26 
years, he was the head of the Department of Pictorial Expression, 
later to be called the Department of Illustration. In addition to 
teaching illustrators and painters such as Albert Gold, Sidney 
Goodman, Helen and William Hamilton, Paul Keene, Joseph and 
Beth Krush, Edward Smith, and Howard Watson, he illustrated over 
200 books with subject matter ranging from fairy tales to literature 
classics such as The Chronicles of Froissart ar\cl Dickens' Dombey 
and Son. Pitz also wrote numerous articles and books on art and 
artists, including about 100 articles for /\mer/can/4rr/sr magazine. His 
prize-winning history. The Brandywine Tradition, published in 1969. 
was on the best-seller list for 1 weeks. He received the Alumni Gold 
Medal from PCA in 1956, and the Silver Star Cluster in 1957. 

Quay Brothers '69 Film & Illustration 

Stephen and Timothy Quay, identical twin brothers, were born in 
Norristown, Pennsylvania in 1947. Stephen graduated with a degree 
in film and Timothy with one in illustration. The Quays moved to 
London to attend the Royal College of Art, where they met Keith 
Griffiths, a fellow student who subsequently became their producer, 
a role he continues to occupy to this day. Together, Griffiths and the 
Quays established a film company. Atelier Koninck. Their animated 
shorts include Sfreef of Crocod/tes (1986), The Comb (From the 
Museums of Sleep) (1990) and Phantom Museums (2003). The 
Quays have made two feature-length films. Institute Benjamenta 
(1995) and The Piano Tuner of Earthquakes (2005). The Quays have 
also directed music videos (for Peter Gabriel, Michael Penn, Tom 
Waits and Pere Ubu) and commercials (from Slurpee, Nikon and 
Kelloggs to Partnership for a Drug Free America). One of their most 
recent projects, Eurydice: She So Beloved (2007), combines film, 
opera, dance, sculpture and painting. The Quay Brothers reside 
and work in England, and are currently working on an adaptation of 
Stanislaw Lem's short story. The Mask. 

Richard Relnhardt (1921-1998) '47 Art Education 
Richard Relnhardt was born in Philadelphia in 1921, and educated 
in the city's public schools, but it was the Philadelphia Museum 
School of Industrial Art that set him on his life's path. He studied with 
Virginia Cute Curtain and sneaked into Douglas Gilchrist's classes to 
teach himself how to make jewelry for his wife. Hazel. When World 



70 



War II began, he became a patent draftsman for the Budd Company, 
enlisted in the Marines and went to Guam as a Drill Sergeant. At 
war's end, he returned to teach the GIs at the PMSIA and studied 
with Baron Erik Fleming at the Handy and Harmon Workshops 
for two summers in a row. Armed with that education, he helped 
establish the Crafts Department at the newly minted Philadelphia 
College of Art as well as the Industrial Design Department. He 
became Dean of the College, then returned to teach when his former 
student and much revered colleague, Olaf Skoogfors, suddenly 
died. Reinhardt's sterling silver jewelry is now in the collection of 
The Museum of Fine Arts, Boston; The Smithsonian Institution; The 
Philadelphia Museum of Art; The Museum of Fine Arts, Houston; and 
The Helen Drutt Collection. His legacy includes a loving family and 
many alumni who are successful in their own right: Myra Mimlitsch- 
Gray, Robert Oppecker, Hratch Babikian, Todd Noe and Doug Bucci 
among them. 

KathyRose 71 Film 

Kathy Rose received a BFA in Film from the Philadelphia College 
of Art, and an MFA in Animation from the California Institute of the 
Arts. Rose received a Guggenheim in Performance Art in 2003, and 
has been awarded numerous grants including six NEA grants, three 
grants from the New York State Council on the Arts and the Marie 
Walsh Sharpe Art Foundation. Her performances have been held 
in the Museum of Modern Art; Kennedy Center; Lincoln Center; 
Fondation Cartier pour I'Art Contemporain, Paris; Walker Art Center; 
The Kitchen; Institute of Contemporary Art, London; Gulbenkian 
Foundation, Lisbon; and Akademie die Kunst, Berlin, among others. 
Video installation exhibitions have been held at the Victoria and Albert 
Museum and the Aldrich Museum. Rose's recent videodance works 
have been shown in the American Dance Festival, II Coreografo 
Elettronico in Naples, Dance on Camera at the Lincoln Center, and 
at videodance festivals in Toronto, Johannesburg, Philadelphia, 
Budapest, and Milan. PR/NTmagazine and The New York Times, 
among others, have published reviews of her performance work. She 
is currently a Master Lecturer in Media Arts at the University of the 
Arts. 

Arnold Roth '50 Illustration 

Arnold Roth was born in Philadelphia in 1929. In 1946, he was 
awarded a scholarship to the Pennsylvania Museum School of 
Industrial Art, from which he graduated in 1950. He then joined with 
the originators of MAD Magazine to work on Trump and Humbug 
magazines. From 1959 to 1961 he did a syndicated Sunday comic 
feature Poor Arnold's Almanac which he revived in 1989 as a daily 
panel and Sunday comic. His work has appeared on record sleeves 
and in many major publications, including Esquire, Sports Illustrated, 
Time, Playboy, The New Yorkerand, most notably. Punch (London), 
where he was honored to carve his initials into their fabled table. He 
has illustrated many books, and authored A Comick Book of Pets, 
A Comick Book of Sports, Pick a Peck of Puzzles, and Arnold Roth 's 
Crazy Book of Science. Roth has received numerous honors and 
awards, including the Reuben Award (Cartoonist of the Year) in 1984 
and the Best Illustrator Cartoonist no less than 13 times from 1976 
to 1989. He lectures widely and continues to play the saxophone. He 
and his wife Caroline (Wingfield) (PMSIA alumna) live in New York 
City and have two musician sons, Charles and Adam. 



Charles Santore '56 Illustration 

Charles Santore was born in Philadelphia in 1935 and attended the 
Philadelphia Museum School of Art. After graduating, he worked as 
an illustrator for many top advertising agencies and numerous leading 
magazines. Since 1986, he has illustrated children's books, including 
The Tale of Peter Rabbit and Other Cherished Stories, Aesop's 
Fables, The Wizard of Oz, and many others. He is also the author 
and illustrator of William the Curious: Knight of the Water Lilies; A 
Stowaway on Noah's Ark; Three Hungry Pigs and the Wolf That Came 
to Dinner; and The Silk Princess. He has received numerous awards, 
including the Society of Illustrators' Award of Excellence and the 
prestigious Hamilton King Award. His illustrations for Aesop's Fables 
were the inspiration for a series of Merrill Lynch TV commercials 
aired during the 1993 Winter Olympics, and he is the subject of a 
1997 documentary, Charles Santore Illustrates the Wizard of Oz. He 
has had major exhibitions at the Brandywine River Museum and 
the National Heritage Museum in Massachusetts. Santore lives and 
works in Philadelphia, and is currently illustrating a poster for the 
National Book Festival. 

Charles Sheeler (1883-1965) 1901 Certificate in Industrial Drawing; 
1902 Certificate in Decorative Painting and Applied Art 

Charles Sheeler was born in Philadelphia, and attended the 
Philadelphia School of Industrial Art from 1900 to 1903. and the 
Pennsylvania Academy of Fine Arts, where he studied under William 
Merritt Chase. He found early success as a painter and exhibited at 
the Macbeth Gallery. He took up commercial photography around 
1912, focusing particularly on architectural subjects. A self-taught 
photographer, he learned his trade on a five-dollar Brownie camera. 
He moved to New York City in 1919 and the next year collaborated 
with the photographer Paul Strand on the film Mannahatta. Sheeler 
received recognition for both his paintings and his photography, 
which were made in the clear-focus, highly detailed Precisionist 
style. He was hired by the Ford Motor Company to photograph and 
make paintings of their factories, and in 1940, Fortune Magazine 
published his "Power Series" of six paintings. Both The National 
Gallery in Washington, D.C. and The Museum of Fine Arts in Boston 
have hosted retrospective exhibitions of his work in recent years. 

Olaf Skoogfors (1930-1975) '53 Metals 

Olaf Skoogfors was born in Bredsjo, Sweden, and moved with his 
family to the United States in 1 940. He attended the Philadelphia 
Museum School of Art where he studied with Virginia Wireman Cute 
and Richard Reinhardt. After two years in the army, he attended 
the Rochester Institute of Technology. He won numerous awards 
while still a student. In 1959. he set up a studio producing limited 
edition and custom jewelry, commissions for hollowware, and 
ecclesiastical metalwork. He became Chair of the Crafts Department 
in the Philadelphia College of Art and was a founding member of the 
Society of North American Goldsmiths (SNAG). He was also active 
in the World Craft Council and exhibited nationally and internationally. 
His work is included in the permanent collections of museums in the 
United States and Europe. 

Leslie Smolan '75 Graphic Design 

Leslie Smolan is the co-founder of the Carbone Smolan Agency and 
Director of Creative Strategy for the firm, which is the creative force 
behind some of the world's most celebrated brands. She has been 
internationally recognized for her work in brand identity, publishing, 
and marketing communications. Recent projects include a global 
brand strategy and identity system for her longstanding client, 
Morgan Stanley, and a branding, marketing and sales campaign for 



71 



Nizuc, a new ultra-luxury resort and residences on the Riviera Maya. 
In 1998, she was elected to the Alliance Graphique Internationale 
(AGO, a select group of world-class designers. Smolan has been 
widely awarded and published. In 1993 she authored The Hat Book 
(Nan Talese/Doubleday) that won every major design award including 
the AIGA 50 Great Books show and the Leipzig Book show. And in 
January 2006, her views on the disastrously poor information design 
of the U.S. healthcare system were published in the Op-Ed section of 
the Washington Post. 

William Stephens (1932-2007) '55 Industrial Design 
After graduating from the Philadelphia Museum School of Art, 
William Stephens started working at the Knoll design company as 
an assistant prototype builder. He soon became one of their top 
designers. In 1967, he headed a four-man team with Don Albinson 
and Andreas Christen to research and develop Knoll's office 
landscape systems. He designed the popular 1305U armchair and 
worked on the research and tooling of the Pettit laminated wood 
chair and the development of the wood Stephens chairs. In 1 973, he 
designed The Stephens System, which capitalized on the dominant 
trend during the 1970s and 1980s toward open offices, as opposed 
to walled-in spaces. 

Dana P. Vaughan (1899-1983) c.1920 

Dana P. Vaughan was born in Middleboro, Massachusetts, and 
attended the Massachusetts School of Art and the Philadelphia 
Museum School of Art. He also studied at Harvard and Brown 
Universities, the Beaux Arts of New York, the University of Upsala 
in Sweden, and in Kyoto, Japan. Vaughan taught at the Rhode 
Island School of Design for five years and was Dean of the college 
for ten years. From 1942 to 1945, he was director of the Trenton 
School of Industrial Arts; he then moved to the Cooper Union for 
the Advancement of Science and Art in New York where he was 
the head of Art and Architecture until his retirement in 1963. At 
Cooper Union he was largely responsible for upgrading the arts and 
architecture curriculum into a Bachelor of Arts program. From 1945 
to 1946, Vaughan was President of the Eastern Arts Association, and 
in 1957, Moore Institute of Philadelphia awarded him an honorary 
Doctor of Fine Arts. He enjoyed renovating homes, and a year 
before his death he bought and renovated a cabin in Orford, New 
Hampshire. 

Marguerite Walter (1902-1983) '38 Teacher Training Diploma 
Marguerite Walter graduated with the Philadelphia Museum School 
of Industrial Art's class of 1938 with a diploma in teacher training, 
after being awarded first prize for work in teacher training in 1937. 
She was delegated by the Philadelphia Board of Education to serve 
as an Art Supervisor to the Philadelphia Museum of Art's educational 
staff. 

Susan Welchman '70 Photography 

Susan Welchman graduated from the Philadelphia College of Art 
in 1 970 with a degree in photography went to work as a staff 
photographer at the Philadelphia Daily News. After four years 
as photo editor at the New York Post she accepted a position as 
Illustrations Editor at National Geographic Magazine arid has been 
making stories there for nearly 30 years, now as Senior Photo 
Editor. In 1995 Welchman created the Flashback section for the 
magazine, featuring images from the archives. In 2000 she created 
another new section, ZipUSA, and now is the editor of Yourshot ior 
the ng.com web site. In addition, Welchman has had responsibility 
for innumerable stories, including stories on Slavery, Caffeine, Fat, 



Australia, Marco Polo, Somalia, Manhattan and Dreamweavers, 
which was the first story in the magazine's history to utilize all digital 
photography. She has also edited special publications including 
Swimsuits-T 00 Years of Pictures, TOO Best Pictures, the WO Best 
Vintage Photographs and most recently the Yourshot book. Susan 
Welchman received the Silver Star Alumni Award for her work in the 
field of photo editing. 

Deborah Willis '75 Photography 

Deborah Willis was born in Philadelphia and received a BFA from 
The Philadelphia College of Art, an MFA from the Pratt Institute, 
an MA from City College in New York and a PhD from George 
Mason University. A 2005 Guggenheim and Fletcher Fellow, a 
2000 MacArthur Fellow, a 1996 recipient of the Anonymous Was 
a Woman Foundation Award, as well as an artist, she is one of the 
nation's leading historians of African-American photography and 
curators of African-American culture. Her work has been in numerous 
major exhibitions, including: Progeny at Columbia University Wallach 
Gallery; Double Exposure at Wadsworth Antheneum, Hartford; A 
Sense of Place: Contemporary Afhcan-American Art at the University 
of Pittsburgh; and African Queen at the Studio Museum in Harlem. 
Among her notable book projects are Reflections in Black: A History 
of Black Photographers-1840 to the Present Barack Obama: The 
Historic Campaign in Photographs, and Posing Beauty: Images of 
Afncan Americans from 1890 to the Present. Named among the 100 
Most Important People in Photography by Amencan Photography 
Magazine, Willis is Chair and Professor of Photography and Imaging 
at Tisch School of the Arts, New York University. 

Stephen and Peggy Turner Zablotny '70 Industnal Design 
Stephen M. Zablotny graduated from the Philadelphia College of 
Art in 1970 with a BS in Industrial Design. He met Peggy Turner in 
freshman year and again in the ID department, where they made 
plans to someday have a design firm together. They married in 1971 
and in 1976 started Z Studio, which focuses on exhibition and graphic 
design as well as many other design capabilities. Zablotny always 
had an interest in theater and techniques of presentation which led 
naturally to exhibition design. He was fortunate to have been hired as 
a designer, while a sophomore, by General Exhibits of Philadelphia. 
His first assignment was to research and write a report on the future 
of exhibits in trade shows and museums. This started a direction 
in his design career that continues today: the desire to explore and 
research new techniques in presentation and production methods. 
Stephen served as the technical director and is currently the graphics 
and publications designer and resident set designer for The Vineyard 
Playhouse. In 1994, Peggy started to experiment with pressing 
flowers from her garden on Martha's Vineyard where they spent 
much of their time. Her love of gardening and design combined to 
create her unique botanical collage compositions. Her first show in 
1996 was at the Field Gallery in West Tisbury, and she is represented 
by numerous galleries in Massachusetts, Pennsylvania, New Jersey, 
and California. She continues to create and exhibit her work, and has 
many publications and collectors to her credit. The Zablotnys are 
currently residents of Vineyard Haven, Massachusetts, where they 
continue their design and exhibit work from Z Studio on Martha's 
Vineyard. 



72 



Boar of Trustees 

Ronald J. Naples, Chairman 

Sean T. Buffingcon, President 

George A. Beach '58 

Roger L. Bomgardner 

Ira Brind 

Ronald L. Caplan 

Jill R. Felix Colcon 

Paul Curci 

Eleanor L. Davis 

Deanna DeCherney '66 

Mark Donnolo '85 

Carl E. DranoflF 

Brian Effron 

Daniel K. Fitzpatrick 

William R. Cast '68 

Melissa Heller 



Scott M. Jenkins 
Gail Kass 

Dr. Russel E. Kaufman 
Al Paul Lefton, Jr. 
Elaine C. Levitt 
Sueyun Pyo Locks 
Karen Lotman 
Seymour G. Mandell 
Glenn A. Manko 
Dr. Noel Mayo '66 
Thomas M. Miles '75 
Francis J. Mirabello, Esq. 
Adolf A. Paier 
Lawrence S. Reichlin 
Jerry J. Siano '57 
Judith F. Terra 
James P. Vesey 
Harriet G. Weiss 
William Wilson 
Albert E. Wolf 



Emeritus Trustee; 
Mary Louise Bcii 
Irvin 1. Borowsk\ 



©2009 The U 
Sean T. Buffn^o 
Stephen Taran- " 

Tara Poag; Cl, . 
Joe Rapone i^ 
Regina Barthi'- 
Sara MacDoni 
Harris Fogel l 

Photography 
John Carlano p _ 
Amy Pulliam. Reseai 
Debby Larkin and Vi 
Scanning/Outp 
Joe Rapone p 
Ken Yanoviak p ; 
EdWaisnisp r 
Miguel Villalobos p 
Copyright © Nationa 
Bill Truslow p. 60 
Jean Vong p. 61 



iversity of the Arts 
fbuth Broad Street 
Philadelphia. PA 19102 
215-717-6000 
www.uarts.edu 



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